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宋 Song · 诗 Poem

寄汾阳郭先生

To the Master Guo of Fenyang

张方平

Zhang Fangping

山水Landscape 愁思sorrow 时序Theme

君家白云外，岩熘响嘈嘈。
绝壑风烟澹，孤峰冰雪高。
自能无世累，谁见有生劳。
指我蓬壶路，琼宫隔海涛。

Your, home, beyond, the white clouds,
The rocks, murmuring, noisy and loud.
The sheer valleys, the wind and the mist, pale and still,
The lone peaks, the ice and the snow, high.
Of, the self, able, to, be, without, the worldly, burdens,
Who, would, see, the toil, of, the living.
Pointing, me, the road, of, the Peng and the Hu,
The jasper palaces, across, the waves of the sea.

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Meaning

A poem of the hermit and the longing, written by Zhang Fangping. Your home beyond the white clouds, the rocks murmuring noisy and loud — the hermit of the opening. The sheer valleys with the wind and the mist pale and still, the lone peaks with the ice and the snow high — the scene of the hermit. Of the self able to be without the worldly burdens, who would see the toil of the living — the freedom of the hermit. And the close's pointing me the road of the Peng and the Hu, the jasper palaces across the waves of the sea — the close's longing. The poem is the hermit and the longing: the clouds, the peaks, and the close's Peng and the Hu.

先生家在白云之外，岩溜声响嘈嘈。绝壑风烟澹淡，孤峰冰雪高寒。自能无世网之累，谁见有生人之劳。指我以蓬壶之路，琼宫隔于海涛。

Appreciation

[Plain Paraphrase] Your, home, beyond, the white clouds, the rocks, murmuring, noisy and loud. The sheer valleys, the wind and the mist, pale and still, the lone peaks, the ice and the snow, high. Of, the self, able, to, be, without, the worldly, burdens, who, would, see, the toil, of, the living. Pointing, me, the road, of, the Peng and the Hu, the jasper palaces, across, the waves of the sea. [Structure and Thought] The poem moves from the hermitage of the white clouds and the murmuring rocks, through the freedom of the self without the worldly burdens, to the close's the road of the Peng and the Hu. [Key Technique] The poem's art is the close of the longing: the self able to be without the worldly burdens, and the close's the jasper palaces across the waves of the sea — the hermit gathered in the freedom and the close's longing. [Emotional Tone] Clear, free, and longing: the poem is the hermit, the peaks and the close's Peng and the Hu.

【白话串讲】张方平寄汾阳郭先生：“君家白云外，岩熘响嘈嘈”。“绝壑风烟澹，孤峰冰雪高”——“自能无世累，谁见有生劳”——“指我蓬壶路，琼宫隔海涛”——他写郭先生的隐逸。【意象与手法】以「白云」「岩溜」「绝壑」「孤峰」「蓬壶」「琼宫」等清远意象写隐者之境，对仗工稳，境清词洁。【情感与主旨】慕郭先生脱去世累、高洁如冰雪，兼写其指蓬壶仙路，含对隐逸的欣羡。【名句点睛】「绝壑风烟澹，孤峰冰雪高」二句，以景写人之孤高，清绝为全诗骨。

Background

Zhang Fangping (1007-1091), the statesman and poet of the Northern Song, wrote this 'To the Master Guo of Fenyang' of the hermit and the longing — the admiration of the recluse. The white clouds with the murmuring rocks, the freedom of the self with the world, and the close's the road of the Peng and the Hu with the jasper palaces — the poem gathers the admiration of the poet, the longing of the recluse. The poem is one of the works of the poet's poems of the hermit.

此诗寄汾阳郭先生，当为张方平赠山中隐逸之士郭姓者之作。汾阳泛指汾水之阳的山西地带，多隐遁高士。张方平身为三朝卿相，却于此诗倾慕方外之人，正见其「乐全」之号的另一面——于繁剧朝政之外，心向白云孤峰的清境。北宋士大夫多游走儒道之间，王安石晚岁亦号半山、谈禅说玄，张方平此类寄隐诗即与这般「仕隐双栖」的心态相契。诗中「无世累」「有生劳」用《庄子》「无待」「劳生」之意，写隐者脱去人事羁缚；「蓬壶」即蓬莱、方壶，海中仙山，指郭先生所诣之道境。此诗因而不仅是酬赠，更是那个时代大臣于案牍劳形中遥想清虚的精神投射，折射宋人「吏隐」「中隐」文化的一个侧面。汾阳即今山西汾阳，地处汾水之阳，自北魏以来佛道兴盛，金元尤有玄门高士；而「汾阳郭先生」亦可使人联想唐代中兴名臣郭子仪（封汾阳郡王）之郡望，诗题遂兼有「地望」与「高隐」的双重意味。张方平以三朝卿相而寄诗山中隐士，不写朝堂而写白云，正见其「乐全」之号的真谛——身虽在朝，心未尝一日忘泉石。这种「身在魏阙、心驰江海」的书写，与王安石晚岁「半山」之号、欧阳修「醉翁」之趣相通，是北宋士大夫「吏隐」文化的典型表现。

Art

The poem's art is the art of the longing. The hermit opens: your, home, beyond, the white clouds — the white clouds of the home; the rocks, murmuring, noisy and loud — the rocks of the murmuring; the sheer valleys, the wind and the mist, pale and still — the sheer valleys of the pale; the lone peaks, the ice and the snow, high — the lone peaks of the high. The freedom follows: of, the self, able, to, be, without, the worldly, burdens — the without of the worldly burdens; who, would, see, the toil, of, the living — the toil of the living. And the close gathers the longing: pointing, me, the road, of, the Peng and the Hu — the road of the Peng and the Hu; the jasper palaces, across, the waves of the sea — the jasper palaces of the sea — the hermit, the freedom and the close's longing, gathered in the poem.

此诗为五律，以清远意象写隐者之境，章法由远（家在白云外）到近（岩溜嘈嘈）、由景（绝壑孤峰）到人（无世累）、由人到期许（指蓬壶），次第如画。首联「君家白云外，岩熘响嘈嘈」先以「白云外」拉开空间，继以「岩溜嘈嘈」补以声息，景中已含隐遁之远。颔联「绝壑风烟澹，孤峰冰雪高」为全诗骨力，以「澹」写风烟之淡、以「高」写冰雪之峻，既状景又拟人，清绝孤迥。颈联「自能无世累，谁见有生劳」由景转入说理，用庄语写其脱累；尾联「指我蓬壶路，琼宫隔海涛」以仙路收束，余味邈远。通篇不著一「隐」字而隐意自足，是宋人「以景写人、境清词洁」的佳作，与其应制排律的典重恰成两极。此诗五律之工，在「以景写人、以人见道」的三层递进：首联写居（白云外、岩溜嘈），颔联写境（风烟澹、冰雪高），颈联写人（无世累、有生劳），尾联写道（蓬壶路、琼宫隔），由外而内、由景而心、由心而道，层次井然。对仗上，颔联「绝壑」对「孤峰」、「风烟」对「冰雪」、「澹」对「高」，一虚一实、一平一峻，是全诗清骨所在；颈联「自能」对「谁见」、「无世累」对「有生劳」，以虚字斡旋，由写景转入说理而不显生硬。通篇不著一「隐」字而隐意自足，是宋人五律「以清境传清神」的佳构。

Allusions

'The Fenyang' (Fen yang) is the Fenyang — the place of the Guo, the home of the hermit; 'the white clouds' (bai yun) are the white clouds — the clouds of the seclusion, the home beyond; 'the Peng and the Hu' (Peng Hu) are the Peng and the Hu — the isles of the immortals, the road of the close; 'the jasper palaces' (qiong gong) are the jasper palaces — the palaces of the jasper, the abodes of the immortals.

一、白云：陶弘景「山中何所有，岭上多白云」，白云代指隐者居处，「君家白云外」即写其远隐。二、岩溜：岩间流水，「嘈嘈」状水声，以声写静中之景。三、绝壑、孤峰：深谷与孤耸之峰，喻隐者处境之幽迥孤高。四、冰雪：以冰雪喻人品清白高洁，化用「冰雪襟怀」之意。五、世累：世俗之牵累，「无世累」用《庄子》解脱尘缚之旨。六、生劳：语本「劳生」，指人生奔走之劳，「谁见有生劳」言隐者已脱此劳。七、蓬壶：蓬莱、方壶，海中仙山，指仙道之境，「指我蓬壶路」写郭先生导己入道。八、琼宫：玉饰仙宫，喻道境之所，「隔海涛」言其邈远难即。诸典由景、人、道层层写来，皆贴切隐逸主题。「白云」一典，源出陶弘景答齐高帝诏「山中何所有，岭上多白云。只可自怡悦，不堪持赠君」，白云遂为隐者之符；张方平以「君家白云外」起，既写其居之远，亦隐括陶弘景之典，一笔两用。「蓬壶」即蓬莱、方壶，与「琼宫」同为道教仙山仙阙，以之写郭先生所诣之道境，使全诗的「隐」由世俗之幽居升格为方外之仙隐。而「世累」「生劳」二语，皆本《庄子》「无待」「劳生」之旨，写隐者脱去尘缚、无有奔忙，是儒道交融的语汇。诸典由陶弘景之隐、庄子之道、仙山之遐，层层推高，正合寄隐主题。

Commentary

This poem is one of the works of Zhang Fangping's poems of the hermit, quoted for the clearness of its scene and the longing of its close. The home beyond the white clouds, and the jasper palaces across the waves of the sea, are among the admired passages of the poet's poems. Critics praise the poem's clearness: the hermit gathered in the freedom, to the close's longing.

此诗与张方平《吴范天章》（劝入朝）、《都官叶郎中归三衢》（许倦宦之归）恰成出处三色：一慕真隐、一望大用、一许归休，合观可见其完整的出处观——对真隐者则欣慕，对当世贤才则望其出，对同朝倦宦则体贴许其归。将本篇与王维《终南别业》「行到水穷处，坐看云起时」并观，二诗同写隐者之闲远，而张诗更重「孤高」的品格象征（冰雪、孤峰），王诗更重「随遇」的禅意。历来张方平诗以应制、送别见称，此类寄隐小诗少被留意，然恰能见出宋儒「三教融通」与「吏隐」文化之一斑。其接受虽微，却是研究北宋大臣「以诗写方外之慕」的珍贵小品，可与当时士大夫山居、休假、乞休文字互参，显出其于朝市繁剧外别有白云之思。将此诗置于北宋「吏隐」诗谱系中，可与王禹偁《寄潘阆处士》、林逋《山园小梅》并观：王、林皆真隐，诗多写实之趣；张方平则身在庙堂而遥想方外，诗多写慕之思，身份不同而笔调自异。较之王维《终南别业》的随遇禅悦，张方平此诗更重「孤高」的品格象征，折射出宋儒于隐逸中寄托道德理想的取向。故论宋人寄隐诗，张方平此篇虽小，却是「以朝市之身写白云之慕」的典型，可与同时士大夫的山居、休假、乞休文字互参，见出宋代士人「仕隐双栖」的普遍心态。

Prosody

Form A regulated poem of the hermit (wu yan lü shi)五言律诗

Rhyme The poem rhymes on the level of the group — the cadence of the regulated poem that carries the clear seclusion.押平声豪韵（嘈、高、劳、涛），一韵到底，韵部清旷，与隐逸清远之调相协，读来余味邈远。

Tone pattern The cadence is that of the longing: the level opening with the hermit, the turning with the freedom, and the close's fall with the Peng and the Hu.五律正格，中二联对仗精严：「绝壑风烟澹，孤峰冰雪高」「自能无世累，谁见有生劳」，平仄相俪，句式端雅而气清。

Reading note The poem's sound matches its clearness: the cadences of the regulated poem, and the close — 'qiong gong ge hai tao' — falls with the waves, the sound of the longing of the admiring poet.此诗音韵以「清远闲雅」为尚，故择平声豪部，收音开阔不迫，恰合寄隐需要的从容邈远，与应制排律的端重、壮别律诗的酣畅皆异。首联「君家白云外，岩熘响嘈嘈」以平声起，先立白云之远的清调，「嘈嘈」虽为水声却以平声出之，声不躁而景自幽；颔联「绝壑风烟澹，孤峰冰雪高」以「澹」「高」一虚一实收束清骨，平仄整饬中见孤迥，是声情最清峻处；颈联「自能无世累，谁见有生劳」以虚字斡旋，语气舒缓，由景入理；尾联「指我蓬壶路，琼宫隔海涛」归于平和悠远，以平声收束全篇。整体依五律正格，对仗中二联皆工，且多用虚字活局，使清景之下藏欣羡而不露叫嚣。声律随「远—景—理—道」的脉络由缓入清、由清归远，是北宋寄隐诗「以声运境、以淡写慕」的典型音韵策略。

Line by line

君家白云外，岩熘响嘈嘈。

Your, home, beyond, the white clouds, the rocks, murmuring, noisy and loud.

先生家在白云之外，岩溜声响嘈嘈。

Your home lies beyond the white clouds; the mountain rivulets chatter and resound.

首联写郭先生隐居之所，以空间之远与声息之近并置，立全篇清隐之调。「君家白云外」化用陶弘景「岭上多白云」之意，以「白云外」三字拉开与尘世的距离，不言隐而隐意自远；「岩熘响嘈嘈」则补以岩间流水之声，「嘈嘈」本状喧声，用于此处反以声写静——深山无人，唯闻水声，愈显其幽。二句一远一近、一视觉一听觉，构图如画，已把读者带入郭先生的隐遁之境。此联之妙在「外」字与「响」字：家在白云「外」，是物理之远亦是精神之远；岩溜「响」而人寂，是以动衬静。作为五律起手，它先立境、后入人，为颔联「绝壑孤峰」的品格象征作好空间与氛围的铺垫，章法从容。

The opening writes Master Guo's reclusive dwelling, setting the whole poem's reclusive key in the nearness of far space and sound. Your home lies beyond the white clouds transforms Tao Hongjing's many white clouds on the ridge, using the words beyond the white clouds to pull away from the dusty world, writing reclusion without saying reclusion. The mountain rivulets chatter and resound adds the sound of water among the crags; chatter originally means a noisy sound, used here to write stillness through sound - in the deep mountain, no man, only the sound of water, the more solitary. The two lines, one far one near, one sight one hearing, the composition like a painting, already bringing the reader into Master Guo's hidden realm. The couplet's beauty lies in the words beyond and resound: the home beyond the white clouds is physical distance and spiritual distance; the rivulets resound while men are silent, using motion to set off stillness. As a five-character regulated verse opening, it first establishes the realm then enters the man, laying the spatial and atmospheric ground for the jaw couplet's sheer ravine and lone peak, the structure unhurried.

绝壑风烟澹，孤峰冰雪高。

The sheer valleys, the wind and the mist, pale and still, the lone peaks, the ice and the snow, high.

绝壑风烟澹淡，孤峰冰雪高寒。

In the sheer ravine, wind and mist are calm; on the lone peak, ice and snow are high.

颔联为全诗骨力，以景写人，清绝孤迥，是张方平寄隐诗中最见锤炼的一联。「绝壑风烟澹」写深谷中风烟澹淡、去来无著，「澹」字既是景语（风烟之疏淡）亦是心语（隐者之情澹）；「孤峰冰雪高」写孤峰之上冰雪凛冽，「高」字既是景语（峰之峻）更是人语（品格之高）。二句对仗精切，「绝壑」对「孤峰」写地之幽迥，「风烟」对「冰雪」写气之清寒，「澹」对「高」一虚一实、一平一峻，境与人格浑融为一。诗人不直说「郭先生高洁」，而借绝壑孤峰冰雪托出，正是「以景写人」的高手笔法。置于五律腹心，此联撑起全篇的清骨，下启颈联「无世累」的脱缚与尾联「蓬壶路」的仙期，章法由景入理、由理入道，层次井然。

The jaw couplet is the poem's bone of force, writing the man through scenery, absolutely clear and lone, the most wrought couplet in Fangping's reclusive poems. In the sheer ravine, wind and mist are calm writes the deep valley where wind and mist are calm, coming and going without foothold; the word calm is at once scenery (the sparse wind and mist) and heart (the recluse's calm feeling). On the lone peak, ice and snow are high writes the bitter ice and snow on the lone peak; the word high is at once scenery (the peak's steepness) and the man (the loftiness of character). The two lines are parallel with fine precision: sheer ravine paired with lone peak writing the place's solitude, wind and mist paired with ice and snow writing the air's cold, calm paired with high, one void one solid, one level one steep, the realm and the character blended into one. The poet does not directly say Master Guo is lofty and pure, but brings it out through the sheer ravine, lone peak, ice and snow, exactly the master's brush of writing the man through scenery. Placed at the heart of the five-character regulated verse, this couplet props up the whole's clear bone, leading to the neck couplet's freedom from worldly entanglements and the closing's immortal road, the structure entering reason from scenery, entering the Way from reason, the layers orderly.

指我蓬壶路，琼宫隔海涛。

Pointing, me, the road, of, the Peng and the Hu, the jasper palaces, across, the waves of the sea.

指我以蓬壶之路，琼宫隔于海涛。

You point out to me the road to Penglai; the jade palace is beyond the sea's billows.

尾联以仙路收束，写郭先生导己入道、而道境邈远，余味悠长。「指我蓬壶路」写隐者不仅自隐，更以方外之道相示，「蓬壶」即蓬莱方壶海中仙山，指超脱尘寰的道境；「琼宫隔海涛」以琼玉仙宫隔于万顷海涛之外收束，既写道境之邈不可即，又暗含「虽不能至、心向往之」的遥慕。二句由人（指路）到境（琼宫），由近（相示）到远（隔涛），章法悠然不尽。炼字上「隔」字最耐寻味：白云之外、海涛之隔，层层远去，正合寄赠诗「身居朝市、心驰方外」的张力——张方平以卿相之身作此语，分明是自道其「乐全」之念。全诗至此由隐者之景、之格、之脱，归结于一条可望难即的蓬壶之路，清音有余，是宋人寄隐诗「以远收、以想结」的典型收法。

The closing gathers in the immortal road, writing Master Guo leading oneself into the Way while the Way-realm is remote, the aftertone long. You point out to me the road to Penglai writes that the recluse not only hides himself but shows the Way beyond the world; Penglai means the immortal isles of Penglai and Fanghu in the sea, pointing to the Way-realm beyond the dusty world. The jade palace is beyond the sea's billows closes with the jade immortal palace separated by the vast sea billows, at once writing the remoteness of the Way-realm beyond reaching, and secretly holding the distant longing of though I cannot reach it, my heart longs for it. The two lines move from the man (pointing the road) to the realm (the jade palace), from the near (showing) to the far (beyond the billows), the structure leisurely and unending. In worked diction, the word beyond is most to savor: beyond the white clouds, beyond the sea billows, layer by layer going far, exactly suiting the tension of a poem sent to a recluse of dwelling in court and market while the heart races beyond the world; Fangping, in the station of a minister, speaking thus, plainly speaks his own thought of joy in wholeness. The whole poem, from the recluse's scenery, his character, and his freedom, returns at last to a Penglai road that can be seen but hardly reached, the clear sound lingering, the typical Song way of a reclusive poem closing in the far and in imagination.

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Word focus

澹 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「澹」在「绝壑风烟澹」中作形容词，指风烟的疏淡、安宁静远。此字是颔联、也是全诗清境的肯綮：写绝壑风烟不浓腻、不喧嚣，正是隐者心境的外化——情「澹」则景「澹」。炼字之妙在「澹」与下句「高」虚实相对：风烟之「澹」是气的疏朗，冰雪之「高」是格的峻洁，一横一纵、一虚一实，撑起全联的清骨。且「澹」为去声阚韵（或上声敢韵），置于句尾为韵脚（与高、劳、涛协），读来悠远，恰宜写幽谷之静。更深一层，此字承《老子》「澹兮其若海」、《庄子》「澹而静」而来，暗含道家虚静之旨，使写景不止于景、而通于道。一字而兼写境、写心、用典、押韵四用，是五律炼景字的精警之笔。

琼 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「琼」在「琼宫隔海涛」中指美玉，代指海中仙宫（琼宫即玉饰之仙居）。此字是尾联、也是全篇道境的象征极点：郭先生所指「蓬壶路」的尽头，是「琼宫」这样的玉宇仙乡，「琼」以其温润皎洁，恰与首联「白云」、颔联「冰雪」的清白色系一脉相承，把隐逸之境推向纯粹的道界。炼字之巧在「琼宫」与「海涛」的对照：玉宇之静美隔于万顷波涛之动荡之外，一静一动、一近一远，余味悠长，且「隔」字使可望难即的遥慕之情顿生。音声上「琼」平声清韵，与「涛」平声豪韵虽异部而同为平声悠远，读来清润。一字而兼写境、象征、声情三用，是短收笔中的精雅之字。

孤 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「孤」在「孤峰冰雪高」中作形容词，写峰之孤立独耸。此字是颔联品格象征的关键：绝壑已显幽深，「孤峰」更进一层，以「孤」写峰之不附不倚、独立天表，暗喻郭先生（及一切真隐者）不慕荣利、独立于世的人格。炼字之妙在「孤」与「高」互文——峰因「孤」而「高」，人因不群而格峻，景与人于此合一。且「孤」为平声模韵，与「高」平声豪韵同部（古音旁转）相协，读来清峻，恰宜写孤迥之态。更深一层，此字与首联「白云外」的「外」、颈联「无世累」的「无」呼应，共同织成「远—孤—无」的隐逸精神谱系：远则其外、孤则其立、无则其脱。一字而兼写景、拟人、声协三用，是五律写品格最吃紧的字眼之一。