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宋 Song · 诗 Poem

夜同处晦霞山

At, the Night, Together, with, Chuhui, on, the Xia Mountain

韩淲

Han Biao

山居mountain 隐逸Hermitage 夜宿Theme 赠友friendship

灯影山窗淡，杯寒道院深。
世尘心力弱，时俗鬓毛侵。
烟莽开幽迳，霜枝堕远林。
地偏愁独往，邻近喜相寻。

The lamp shadows, the mountain windows, pale,
The cups, cold, the Taoist court, deep.
The worldly dust, the strength of the heart, weak,
The fashions of the times, the temples of the hair, encroaching.
The mists, opening, the hidden, paths,
The frosty branches, dropping, the distant woods.
The place, remote, the grieving, of, the going, alone,
The neighbors, near, the rejoicing, of, the seeking, each other.

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Meaning

A poem of the night and the friendship, written by Han Biao. The lamp shadows with the mountain windows pale, the cups cold the Taoist court deep — the night of the opening. The worldly dust with the strength of the heart weak, the fashions of the times the temples of the hair encroaching — the sigh of the middle. The mists opening the hidden paths, the frosty branches dropping the distant woods — the scene of the middle. And the close's the place remote the grieving of the going alone, the neighbors near the rejoicing of the seeking each other — the close's friendship. The poem is the night and the friendship: the lamps, the mists, and the close's rejoicing.

灯影照着山窗,光色淡淡的;杯中的酒已凉,道院愈显得幽深。世间的尘事,消磨得心力日渐衰弱;时俗的风波,不知不觉已侵染得两鬓斑白。烟雾迷蒙的草木间,忽然显出一条幽深的小径;结霜的枯枝,坠落在远处的林间。地偏处独自行走,总不免心生孤愁;所幸邻近的人家,还欢喜地前来相寻。

Appreciation

[Plain Paraphrase] The lamp shadows, the mountain windows, pale, the cups, cold, the Taoist court, deep. The worldly dust, the strength of the heart, weak, the fashions of the times, the temples of the hair, encroaching. The mists, opening, the hidden, paths, the frosty branches, dropping, the distant woods. The place, remote, the grieving, of, the going, alone, the neighbors, near, the rejoicing, of, the seeking, each other. [Structure and Thought] The poem moves from the night of the lamps and the cups, through the sigh of the world and the fashions, to the close's the rejoicing of the seeking each other. [Key Technique] The poem's art is the close of the friendship: the place remote the grieving of the going alone, and the close's the neighbors near the rejoicing — the night gathered in the sigh and the close's rejoicing. [Emotional Tone] Quiet, sighing, and warm: the poem is the night, the mists and the close's friendship.

【白话串讲】韩淲写夜宿霞山：“灯影山窗淡，杯寒道院深”。“烟莽开幽迳，霜枝堕远林”——“地偏愁独往，邻近喜相寻”——他写山中夜宿的孤寂。【意象与手法】五律八句,前写景后写情。首联以「淡」「深」二字勾出灯影山窗、寒杯道院的幽邃;颔联忽然插入身世,「心力弱」「鬓毛侵」对仗沉痛;颈联「烟莽开幽迳,霜枝堕远林」以「开」「堕」一静一动,以声写静;尾联以「愁」「喜」收束,一抑一扬。景淡、情真、韵远,起承转合井然,正是宋人五律以清空写胸次的典型。【情感与主旨】此诗是隐逸诗人韩淲与友人同宿山间道院之夜的实录。山窗灯影、霜枝坠林,景致清冷而幽深;「世尘心力弱,时俗鬓毛侵」,于山林清景中透出对尘俗的厌倦与对光阴的感伤。然而「邻近喜相寻」,山中自有知己晨夕相过,孤独之中见温厚,把隐逸之乐与身世之慨交织一处,清而不枯,淡而有味。【名句点睛】「烟莽开幽迳,霜枝堕远林」:一「开」写幽径乍现,如天光一线;一「堕」写霜枝坠林,于万籁俱寂中陡闻一声轻响,以动衬静,声色兼备,把清夜山林的幽邃写得既有画意,又有声情。

Background

Han Biao (c. 1159-1224), the poet of the Southern Song, wrote this 'At, the Night, Together, with, Chuhui, on, the Xia Mountain' of the night and the friendship — the visit of the mountain temple. The lamp shadows with the Taoist court, the sigh of the world with the temples of the hair, and the close's the rejoicing of the seeking each other — the poem gathers the warmth of the poet, the friendship of the night. The poem is one of the works of the poet's poems of the friendship.

韩淲,字仲止,号涧泉,信州上饶人,南宋著名隐逸诗人,南渡名臣韩元吉之子。其生平淡泊,雅志高洁,生平不慕荣利,一意读书吟咏,隐居上饶而终,有《涧泉集》《涧泉日记》传世。此诗题作「夜同处晦霞山」,写与友人「处晦」同宿山间道院之夜的所见所感,当为其隐居上饶时期与方外、隐逸之交酬唱之作。上饶一带山清水秀,佛寺道观棋布,南宋时信州为理学与隐逸文化交汇之地,韩淲日与山僧野老往还,诗中「灯影山窗」「杯寒道院」「烟莽幽迳」「霜枝远林」,正是山居清夜的真实景况。而「世尘心力弱,时俗鬓毛侵」一联,则于山林清景之中,透出对尘俗的厌倦与对光阴的感伤,隐逸之乐与身世之慨,交织成此诗独有的情味。全诗语淡情真,意境清远,正是涧泉诗「清绝」风格的缩影,亦可见南宋隐逸诗人于山林中安顿身心、排遣世忧的一种典型姿态。而其地偏邻近、独往相寻之语,尤为真挚,非身居城市、想象山林者所能道,盖其晚年定居上饶南涧之滨,与友朋晨夕相过,此诗正是此种生活的实录。

Art

The poem's art is the art of the friendship. The night opens: the lamp shadows, the mountain windows, pale — the lamp shadows of the mountain windows; the cups, cold, the Taoist court, deep — the cups of the Taoist court. The sigh follows: the worldly dust, the strength of the heart, weak — the worldly dust of the weak; the fashions of the times, the temples of the hair, encroaching — the fashions of the encroaching. The scene: the mists, opening, the hidden, paths — the mists of the opening; the frosty branches, dropping, the distant woods — the frosty branches of the distant woods. And the close gathers the friendship: the place, remote, the grieving, of, the going, alone — the grieving of the going alone; the neighbors, near, the rejoicing, of, the seeking, each other — the rejoicing of the seeking each other — the night, the sigh and the close's friendship, gathered in the poem.

此诗为五律,前写景,后写情,情景交融,章法浑成。首联「灯影山窗淡,杯寒道院深」,写夜宿之景,「淡」「深」二字,一写灯光之微,一写道院之幽,以极其清简的笔触,勾出山窗道院的幽邃氛围,起笔即定全诗清冷基调。颔联「世尘心力弱,时俗鬓毛侵」,由景转情,忽然插入身世之感:心力之弱,缘于世尘;鬓毛之侵,因于时俗,两句对仗工整而情辞沉痛,是全诗感情的枢纽。颈联「烟莽开幽迳,霜枝堕远林」,复以写景承之,一「开」一「堕」,写烟雾中忽现幽径、霜风中枝坠远林,景中含动,静中有声,境界愈远愈幽。尾联「地偏愁独往,邻近喜相寻」,以「愁」「喜」二字收束,把身世之慨与交游之慰打成一片,结得含蓄而有余味。全诗景淡、情真、韵远,于五律八句之中,写尽山居清夜的一个侧面,正是宋人五律「以清空写胸次」的典型风格,亦见涧泉诗「淡而有味、清而不薄」的本色。其由景入情、复由情入景、终以人情收束的布置,起承转合,井然有序,尤见五律章法经营的功力。

Allusions

'The Taoist court' (dao yuan) is the Taoist court — the court of the Tao, the temple of the mountain; 'the worldly dust' (shi chen) is the worldly dust — the dust of the world, the weakness of the heart; 'the temples of the hair' (bin mao) are the temples of the hair — the temples of the hair, the encroaching of the fashions.

此诗用事不多而皆有来历,含蓄蕴藉,不着痕迹。「道院」之名,盖指道士修真之所,唐宋以来,文人与道流交游者多矣,诗中「道院深」之「深」,暗用唐人刘长卿《寻南溪常山道人隐居》「溪花与禅意,相对亦忘言」一类的幽深意象,写方外之境的静寂。「世尘心力弱」,本于佛道二教「世尘」「尘累」之说,谓俗世尘缘消耗心力,诗人以「弱」字自道其心力之疲,亦是宋人诗家常语,而其根源可溯至陶渊明《归去来兮辞》「心为形役」之叹,与「静念园林好,人间良可辞」的隐逸情怀。「时俗鬓毛侵」,则承《离骚》「老冉冉其将至」之忧伤与汉乐府「各各无别貌,鬓发各已苍」的老大之悲,以鬓白写年衰,是诗词中习见而常新的写法。「烟莽开幽迳」之「开」,又暗合王维《鹿柴》「空山不见人」、常建《题破山寺后禅院》「曲径通幽处」之句意,写幽径通幽、别有天地。全诗融化前贤意象,如水中着盐,不见痕迹,是宋人「以故为新、点铁成金」的用事法门。

Commentary

This poem is one of the works of Han Biao's poems of the friendship, quoted for the quietness of its night and the warmth of its close. The lamp shadows of the mountain windows, and the rejoicing of the seeking each other, are among the admired passages of the poet's poems. Critics praise the poem's warmth: the night gathered in the sigh, to the close's rejoicing.

韩淲此诗,是其隐居生活的实录,也是涧泉诗风格的标本。通篇以淡墨写清景,以微语寄深情,不事雕琢,而自有一种「淡妆素抹」的美感,置之宋人五律中,风味独绝。前人评韩淲诗,谓其「清绝」,此诗正可为证:灯影、杯寒、烟莽、霜枝,皆清冷之物;而「世尘心力弱」之叹、「邻近喜相寻」之慰,又于清冷中注入温厚,使全诗不至于枯寂。《四库全书总目》著录《涧泉集》,谓其「诗源出于江西而加以清婉」,虽为总评,移以论此诗之清婉有味,亦甚恰当。尤可注意者,此诗以五律写方外清夜,而能在写景、抒情、怀古、纪游之间从容转换,不板不滞,正是宋人「以诗为日课」、于寻常景致中锤炼诗境的功夫。要之,此诗虽小,而可见涧泉之性情、诗风、生活全貌之一斑,是研究南宋隐逸诗人创作心态的珍贵材料,其淡其真,弥足玩味。且诗中「邻近喜相寻」一语,尤为难得,写尽山人野老往还之乐,较之高蹈绝俗、不近人情的隐者形象,更见一种人间烟火气的温厚,读之令人神往。

Prosody

Form A regulated poem of the night (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 quiet friendship.首句不入韵,押平声侵部韵（深、侵、林、寻）,通篇一韵

Tone pattern The cadence is that of the friendship: the level opening with the night, the turning with the sigh, and the close's fall with the rejoicing.仄起仄收式,中二联对仗工整,平仄全合五律常格,音调低回清冷,称其幽邃之境

Reading note The poem's sound matches its warmth: the cadences of the regulated poem, and the close — 'lin jin xi xiang xun' — falls with the seeking, the sound of the rejoicing of the visiting poet.此诗为五言律诗,首句「灯影山窗淡」仄起仄收,不入韵,以下押平声侵部韵,韵字「深、侵、林、寻」,皆闭口收声之字,音调低徊幽咽,读之如含而不吐,恰与诗中道院幽深、夜境清寂的意趣相合,是五律以韵部声情配合意境的范例。格律取仄起仄收常式,平仄四句皆合律,中二联「世尘心力弱,时俗鬓毛侵」「烟莽开幽迳,霜枝堕远林」,对仗精工:世尘对时俗、心力对鬓毛、弱对侵,烟莽对霜枝、开对堕、幽迳对远林,词性结构一一相当,而意境层叠,尤以「心力弱」对「鬓毛侵」,虚字实字,铢两悉称,见作者对仗之工。声调上,首联「灯影山窗淡,杯寒道院深」,仄仄平平仄,平平仄仄平,一起一承,平稳低回;颔联「世尘心力弱,时俗鬓毛侵」,仄平平仄仄,平仄仄平平,于平稳中微起波澜,正如景中忽插感慨;颈联「烟莽开幽迳,霜枝堕远林」,平仄平平仄,平平仄仄平,音节复归清畅,如幽径忽开;尾联「地偏愁独往,邻近喜相寻」,仄平平仄仄,平仄仄平平,一愁一喜,以清和之音收束。通观全诗,律法精严而不板滞,声情低回而不哀伤,正是宋人五律「以清远之声,写幽淡之趣」的成熟风貌。

Line by line

灯影山窗淡，杯寒道院深。

The lamp shadows, the mountain windows, pale, the cups, cold, the Taoist court, deep.

灯影照着山窗,光色淡淡的;杯中的酒已凉,道院愈显得幽深。

The lamp shadow on the mountain window is faint; the cup is cold, the Daoist courtyard deep.

首联以极其清简的笔触,勾出夜宿道院的幽邃之境,是全诗写景的起调。「灯影」与「山窗」并置,以「淡」字写灯,则灯是微灯,光是淡光,夜色中一豆孤灯,照着山窗,光色蒙胧;「杯寒」与「道院」并置,以「深」字写道院,则院是深院,静是深静,手把凉杯,更觉院落沉沉。一「淡」一「深」,写光之弱与境之幽,如画工用淡墨枯笔,寥寥数笔,而清夜道院的萧疏寂静,宛然在目。两句十个字,有光、有色、有温度,却无一字用力,正是五律写景「以简驭繁、以淡为宗」的上乘笔法,也把诗人身在其中、心境澄澈的状态,不着一字地托了出来。

The opening couplet, in the most clear and spare brush, sketches the secluded realm of the night lodging in the Daoist courtyard, the opening key of the poem's scenery. The lamp shadow and the mountain window set side by side, writing the lamp with the word faint, makes the lamp a faint lamp, the light a faint light; in the night a lone bean of a lamp, lighting the mountain window, the light and color hazy. The cold cup and the Daoist courtyard set side by side, writing the courtyard with the word deep, makes the courtyard a deep courtyard, the stillness a deep stillness, the hand holding the cold cup, the more feeling the courtyard profound. One faint one deep, writing the weakness of the light and the seclusion of the realm, like the painter's faint ink and dry brush, a few strokes, and the clear night Daoist courtyard's sparse stillness as if before the eyes. The two lines' ten characters have light, color, and temperature, not a word forced, exactly the five-character regulated verse's first-class brush of using the simple to control the complex and taking the faint as the sect, and it brings out without a word the state of the poet dwelling within, the frame of mind pure.

世尘心力弱，时俗鬓毛侵。

The worldly dust, the strength of the heart, weak, the fashions of the times, the temples of the hair, encroaching.

世间的尘事,消磨得心力日渐衰弱;时俗的风波,不知不觉已侵染得两鬓斑白。

The dusty world has worn my spirit thin; the times' ways have crept into my temples.

此联是全诗由景入情的枢纽,也是诗人心灵最直接的剖白。「世尘」与「心力弱」相连,谓俗世的纷扰尘劳,一层层消耗着心力,一个「弱」字,写出心力交瘁、疲惫不堪的实感;「时俗」与「鬓毛侵」相连,谓时俗的风波,不知不觉间已催人老去,一个「侵」字,写岁月之侵、俗务之蚀,如蚕食叶,无声而剧。两句对仗工稳,而情辞沉痛:隐逸之士,本欲避世,而世尘时俗,终难尽避,心力既弱,鬓发已苍,山林清景,岂能掩此老大之悲?此联恰在首联清景与颈联幽径之间,如一声低叹,把山居之乐与身世之忧交织一处,使全诗的意境,由单纯的清幽,转而为清幽中的苍凉。

This couplet is the hinge of the poem moving from scenery to feeling, and the most direct dissection of the poet's heart. The dusty world linked with the spirit thin means the world's turbid toil, layer by layer, consuming the spirit; the single word weak writes the real feeling of the spirit's exhaustion and utter weariness. The times' ways linked with the temples creeping in means the times' storms, imperceptibly, have already urged a man to age; the single word creeping writes the years' inroad and the vulgar affairs' erosion, like the silkworm eating the leaf, silent and fierce. The two lines are a wrought parallel, yet the feeling and words are heavy: the recluse originally wished to flee the world, yet the dusty world and the times' ways are at last hard to flee; the spirit already weak, the temples already gray, how can the mountain forest's clear scenery cover this grief of old age? This couplet, exactly between the opening's clear scenery and the neck couplet's quiet path, is like a low sigh, weaving the joy of mountain dwelling and the grief of lot together, making the whole poem's realm turn from simple clarity to the desolation within clarity.

烟莽开幽迳，霜枝堕远林。

Through the misty growth, a quiet path opens; the frost-bitten bough falls in the distant wood.

烟雾迷蒙的草木间,忽然显出一条幽深的小径;结霜的枯枝,坠落在远处的林间。

Through the misty growth, a quiet path opens; the frost-bitten bough falls in the distant wood.

颈联复以写景承转,是全诗意境最深远的一联。「烟莽」写暮烟笼罩的草木,迷蒙一片;「开幽迳」写小径忽然显现,如豁然开朗,着一「开」字,烟雾中幽径乍现的动态,仿佛天光一线,别有洞天,暗合「曲径通幽」的禅意。「霜枝」写凝霜的枯枝,「堕远林」写其坠落于远林之中,着一「堕」字,以动写静,于万籁俱寂之中,唯闻枯枝堕地之声,更显山林之空旷幽深。上句写「开」,是空间的展开,下句写「堕」,是时间的流逝,一开一堕,动静相生,把清夜的景致写得既有层次,又有声息。此联与首联的「淡」「深」遥相呼应,景愈写愈远、愈写愈幽,正为尾联「愁独往」「喜相寻」的人情,铺开了广阔而清寂的背景。

The neck couplet again carries the turn through writing scenery, the poem's furthest-reaching couplet of realm. The misty growth writes the vegetation veiled in the dusk smoke, a blur; opens a quiet path writes the small path suddenly appearing, as if the world suddenly opened; the single word open writes the motion of the quiet path's first appearing in the smoke, as if a thread of sky light, a separate cave heaven, secretly matching the Zen meaning of the winding path leading to the quiet. The frost-bitten bough writes the frosted dead bough, and falls in the distant wood writes its dropping in the distant wood; the single word fall writes stillness through motion, and in the universal stillness, only the sound of the dead bough dropping to the ground, the more showing the mountain forest's emptiness and seclusion. The upper line writes open, the unfolding of space; the lower writes fall, the passing of time; one opening one falling, motion and stillness feeding each other, writing the clear night's scenery with both layers and sound. This couplet echoes from afar the opening's faint and deep, the scenery written the farther the more, the more the more secluded, exactly spreading a vast and clear still background for the closing couplet's human feeling of grieve to go alone and glad to seek.

地偏愁独往，邻近喜相寻。

The place, remote, the grieving, of, the going, alone, the neighbors, near, the rejoicing, of, the seeking, each other.

地偏处独自行走,总不免心生孤愁;所幸邻近的人家,还欢喜地前来相寻。

The place is remote, and I grieve to go alone; a neighbor is glad to come and seek me out.

尾联以「愁」「喜」二字收束全篇,把身世之慨与交游之慰打成一片,是全诗情感的归结。「地偏愁独往」,写幽境之偏与独往之愁:居处既偏,友朋难至,孤身独行于荒寒的山径,一种深深的孤独感油然而生,此「愁」承颔联「心力弱」「鬓毛侵」而来,是隐者生命中的幽暗底色。「邻近喜相寻」,则峰回路转:所幸还有邻近的山人野老,常常欢喜地前来相访,一灯相对,谈笑论文,驱散了独处的孤愁,此「喜」正是对「愁」的温暖抚慰。一愁一喜,先抑后扬,结得含蓄而有余味:隐逸生涯,虽有世尘之扰、独往之愁,而山中自有知己,足以慰藉此生,诗人的淡泊与旷达,皆在其中。

The closing couplet gathers the whole in the two words grieve and glad, beating the grief of lot and the comfort of friendship into one, the landing of the poem's feeling. The place is remote, and I grieve to go alone writes the seclusion of the quiet realm and the grief of going alone: the dwelling remote, the friends hard to come, alone walking on the wild cold mountain path, a deep loneliness of itself arising; this grieve follows the jaw couplet's spirit thin and temples creeping in, the dark ground color of the recluse's life. A neighbor is glad to come and seek me out then turns the peak and the road: by good fortune there are still neighboring mountain men and wild elders, often gladly coming to visit, one lamp facing, talking and laughing over letters, dispersing the loneliness of being alone; this glad is exactly the warm comfort for the grieve. One grieve one glad, first depressing then raising, closing reserved with aftertone: the reclusive life, though there is the dusty world's disturbance and the grief of going alone, yet in the mountains there are of themselves understanding friends, enough to comfort this life, and the poet's plainness and openness are both within.

Study

Word focus

淡 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「灯影山窗淡」之「淡」,是首联立景之字,也是全诗风格的宣言。「淡」写灯光,不是明亮,不是昏黄,而是一种淡淡的、弥漫开来的微光,如月光之在水,雾中之烛,光而不耀,暗而不黑。着一「淡」字,山窗灯影的质感、夜色中的光晕,便都有了分寸;而诗人的心境,也随之变得澄澈而平和,外景之内情,丝丝相合。此字亦是全诗情调的基调:诗中一切,灯影、杯寒、烟莽、霜枝、幽径、远林,皆以「淡」字写之,景物是淡的,情思是淡的,笔触更是淡的,而不着一「淡」字的地方,也处处是淡的意境。故「淡」之一字,既是炼字,更是诗格,正合古人「淡泊以明志」之旨,是涧泉诗「清淡」风格最凝练的注脚。

深 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「杯寒道院深」之「深」,是写境幽邃的关键一字。「深」字本极寻常,此处用以写道院,却有三重意味:一曰院落之深,重重殿堂,层次幽深,非浅院可比;二曰夜静之深,万籁俱寂,只觉夜色无边,深不可测;三曰境界之深,道院本是清修之地,尘俗不到,其幽玄之境,深不可名。三层「深」意,叠合于一字之中,而「杯寒」二字在前,以掌中凉杯之感,衬出四围幽深之寂,人我之间,皆是一片清寒。此字与上句「淡」字相对,一写光之弱,一写境之深,光愈淡,境愈深,互相生发,把山窗道院的幽邃写足,也为颔联「世尘心力弱」的倦意,先布下一层令人安顿又令人惆怅的底色。

侵 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「时俗鬓毛侵」之「侵」,是写岁月之逼最传神的一字。「侵」本指渐进、侵占,用之写时俗对鬓毛的侵蚀,则时间不是奔涌而来,而是无声无息、一点点地蚕食:今日一根,明日一根,不知不觉间,双鬓尽白,如敌军入境,日削月割,及至发觉,已不可挽。着一「侵」字,把「老之将至」的被动、无奈与悄然,写得入骨三分,较「催」「染」等字,更多一种慢慢逼近、无从抵御的恐惧感。且此字暗含对比:诗人身在山林,自以为可以避世,而「时俗」竟能穿透道院的高墙、越过烟莽的幽径,悄然侵入鬓间,可见避世之难、岁月之不可抗。此字与「心力弱」之「弱」对举,一弱一侵,写出隐者于尘俗面前的双重无力,是全诗最沉痛的一字。

堕 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「霜枝堕远林」之「堕」,是以动写静的神来之笔。「堕」有坠落、零落之义,与「落」字近而气象有别:落者,自然之落,轻缓无力;堕者,忽然之堕,仿佛有分量、有声息。着一「堕」字,霜枝从枝头脱离、坠向远林的瞬间,便带着一种沉甸甸的声响,仿佛能听见「啪」的一声,震破山谷的寂静,而后复归岑寂。此字以声写静,以动衬幽:正因为山林静到极点,霜枝堕地之声才如此清晰可闻;也正因为有此一声,四围的寂静才更显得深不可测。上句「烟莽开幽迳」是视觉的「开」,此句「霜枝堕远林」是听觉的「堕」,一开一堕,耳目并用,声色兼备,把清夜山林的幽邃,写得既有画意,又有声情,是五律写景炼字「状难写之景如在目前」的典型。