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唐 Tang · 诗 Poem

白莲

The White Lotus

陆龟蒙

Lu Guimeng

素蘤多蒙别艳欺，此花真合在瑶池。
还应有恨无人觉，月晓风清欲堕时。

White blossoms are often wronged by gaudier beauties; this flower truly belongs in the Jade Pool.
It must still hold a grief none perceive, at dawn under the moon, in the clear wind, as it is about to fall.
Listen

Meaning

A seven-character quatrain in which Lu Guimeng uses the white lotus to voice his own unrecognized worth. Plain blossoms are wronged by showier flowers and truly belong in the fairy pool; the lotus hides a grief no one sees as it nears its fall. A thing-lyric of concealed feeling.

素蘤多蒙别艳欺，此花真合在瑶池。还应有恨无人觉，月晓风清欲堕时。

Appreciation

[Plain Paraphrase] White blossoms are wronged by gaudier blooms; this flower belongs in the Jade Pool; it must still hold a grief none perceive, at moonlit dawn in the clear wind as it is about to fall. [Structure] The first couplet states the lotus's rank and wrong, the last its hidden grief—thing into self. [Imagery] 'Belongs in the Jade Pool' marks its purity above common flowers. [Tone] Concealed, graceful, self-referring.

【白话串讲】 陆龟蒙写《白莲》：“素蘤多蒙别艳欺，此花真合在瑶池”——“还应有恨无人觉，月晓风清欲堕时”——他写白莲——素蘤多蒙别艳欺。 【意象与手法】 “素蘤多蒙别艳欺”以素蘤被艳欺写白莲遭遇；“此花真合在瑶池”以瑶池写白莲高洁；“还应有恨无人觉”写无人觉恨；结以“月晓风清欲堕时”以月晓风清写白莲将谢。咏物言志、含蓄深婉。 【情感与主旨】 陆龟蒙咏白莲之作，写白莲被别艳所欺而无人察觉其恨，以白莲自喻高洁不群、怀才不遇，是咏物言志的名篇。 【名句点睛】 常考“素蘤多蒙别艳欺，此花真合在瑶池”以瑶池写白莲高洁；“还应有恨无人觉，月晓风清欲堕时”以月晓风清写白莲将谢。

Background

Lu Guimeng (c. 830–c. 881), styled Luwang, was a Late-Tang poet of Suzhou, known for plain, allusive verse. 'The White Lotus' is a thing-lyric (yongwu) in which the flower stands for the unworldly, unrecognized worthy—a common Late-Tang mode of speaking of oneself through an object.

《白莲》为晚唐诗人陆龟蒙所作诗。陆龟蒙（约830—约881），字鲁望，号江湖散人，苏州吴县（今江苏苏州）人，晚唐诗人。此诗写咏物言志，为咏白莲之作。诗中「素蘤多蒙别艳欺，此花真合在瑶池」写素蘤多蒙别艳欺，此花真合在瑶池；「还应有恨无人觉，月晓风清欲堕时」写还应有恨无人觉，月晓风清欲堕时。陆龟蒙此诗以咏物言志、月晓风清欲堕时写其言志之情，含蓄深婉，是陆龟蒙诗中的名篇。此篇《白莲》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《白莲》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《白莲》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 art is 'concealed and graceful, the lotus for the self.' Four lines move from the plain blossom wronged by gaudier ones, to its true home in the Jade Pool, to a hidden grief none perceive, to the clear-wind dawn just before falling. Personification ('wronged,' 'holds a grief') makes the flower a person; the Jade Pool marks its purity; the closing merges thing and feeling without stating the allegory. Compact and indirect, it is a model Late-Tang thing-lyric.

此诗艺术上以「含蓄深婉、以莲写志」见长。全诗共四句，由素蘤多蒙别艳欺而还应有恨无人觉。起「素蘤多蒙别艳欺，此花真合在瑶池」写素蘤多蒙别艳欺：素蘤多蒙别艳欺，此花真合在瑶池；「还应有恨无人觉，月晓风清欲堕时」写月晓风清欲堕时：还应有恨无人觉，月晓风清欲堕时。全诗以莲写志，由素蘤多蒙别艳欺而月晓风清欲堕时，含蓄深婉，是陆龟蒙诗中的名篇。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。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 key allusion is the 'Jade Pool' (Yaochi), the fairy lake of the Queen Mother, marking the lotus as otherworldly and pure above common blooms. 'White blossoms wronged by gaudier beauties' personifies the flower as a slighted worthy. The moonlit dawn and clear wind belong to the pure-night topos. Lu Guimeng keeps the allegory unspoken, letting the object carry the self.

诗中「素蘤多蒙别艳欺此花真合在瑶池」「还应有恨无人觉月晓风清欲堕时」等语，皆含典故故实。「素蘤多蒙别艳欺此花真合在瑶池」用瑶池之典（瑶池为仙池），写素蘤多蒙别艳欺此花真合在瑶池；「还应有恨无人觉月晓风清欲堕时」写还应有恨无人觉月晓风清欲堕时。诗人以瑶池之典入诗，不着痕迹，而把咏物言志之情写得真切可感，是善于熔铸典故的体现。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。

Commentary

A Late-Tang thing-lyric, 'The White Lotus' opens with the plain blossom wronged by gaudier flowers and its true home in the Jade Pool, then gives it a hidden grief at the clear-wind dawn as it nears its fall. Concealed and graceful, it speaks of unrecognized worth through the flower alone—a fine example of the Late-Tang mode of self in object.

这首《白莲》，是陆龟蒙写咏物言志之作，写素蘤多蒙别艳欺、还应有恨无人觉、月晓风清欲堕时之情，含蓄深婉。起「素蘤多蒙别艳欺，此花真合在瑶池」——素蘤多蒙别艳欺（瑶池用仙池之典），此花真合在瑶池。写素蘤多蒙别艳欺：素蘤多蒙别艳欺、此花真合在瑶池——素蘤多蒙欺、真合在瑶池；「还应有恨无人觉，月晓风清欲堕时」——还应有恨无人觉，月晓风清欲堕时。写月晓风清欲堕时：还应有恨无人觉、月晓风清欲堕时——应有恨无人觉、风清欲堕时。这「还应有恨无人觉，月晓风清欲堕时」，是全诗之结：以月晓风清欲堕时写其言志。全诗含蓄深婉，以莲写志，正是陆龟蒙诗中的名篇。综观全诗，情真、景切、理深，三者浑融无迹，故能于短短数语之中寄无限深意，令人百读不厌。其含蓄蕴藉之处，正是中国古典诗歌以少总多、言有尽而意无穷的美学精神的生动体现。综观全诗，情真、景切、理深，三者浑融无迹，故能于短短数语之中寄无限深意，令人百读不厌。其含蓄蕴藉之处，正是中国古典诗歌以少总多、言有尽而意无穷的美学精神的生动体现。

Prosody

Form Seven-character quatrain (qi jue)诗（七言绝句）
Rhyme Rhymes on chi and shi (zhi category), two lines then a turn; level tones fit the graceful tone.此诗为七言绝句，共四句，两句一联。押平声韵：「池」「时」押支部韵。诗体依绝句而定，句式整齐，音节随情起伏，正与写咏物言志的含蓄深婉相称，也见其以绝句写言志的自然。
Tone pattern The first couplet sounds clear and fine; the close is low and lingering—the quatrain's compression suits the concealed feeling.句式上，「素蘤多蒙别艳欺，此花真合在瑶池」写素蘤多蒙别艳欺，音节清丽；「还应有恨无人觉，月晓风清欲堕时」写月晓风清欲堕时，音节低回。全诗音节随情起伏，由清丽而低回，正合绝句「含蓄」之妙，读来如咏物言志、月晓风清欲堕时之音，含蓄而动人。
Reading note A seven-character quatrain and a Late-Tang thing-lyric. Its art is 'concealed and graceful, the lotus for the self': wronged plain blossom, true home in the Jade Pool, hidden grief at the clear-wind dawn. Compact and indirect, it speaks of unrecognized worth through the flower.此诗为七言绝句，是陆龟蒙写咏物言志之作，也是其诗中的名篇。全诗的艺术特色在于「含蓄深婉、以莲写志」：「素蘤多蒙别艳欺，此花真合在瑶池」写素蘤多蒙别艳欺、「还应有恨无人觉，月晓风清欲堕时」写月晓风清欲堕时。全诗含蓄深婉，以莲写志。尤为精妙者，是「还应有恨无人觉，月晓风清欲堕时」写尽莲之恨；而「素蘤多蒙别艳欺，此花真合在瑶池」用瑶池之典，正是陆龟蒙诗「含蓄深婉」的典范，为历代选本所常收。《白莲》一诗之所以读来声情并茂，正在于诗人以声韵配合情思、以节奏烘托意境，音节之长短、平仄之起伏，皆与诗意相为表里，此亦可见中国古典诗歌声律之美与匠心之工。

Line by line

素蘤多蒙别艳欺，此花真合在瑶池。

White blossoms are often wronged by gaudier beauties; this flower truly belongs in the Jade Pool.

素蘤多蒙别艳欺，此花真合在瑶池。

The white blossom is often wronged by the other bright flowers; this flower truly belongs by the Jasper Pool.

首二句写素蘤多蒙别艳欺，起笔即见其莲。「素蘤多蒙别艳欺」写素蘤多蒙别艳欺，「素蘤多蒙」写素花多被、「别艳欺」写别艳所欺；「此花真合在瑶池」写此花真合在瑶池，用瑶池之典写此花真合在瑶池。两句一写素蘤多蒙别艳欺、一写此花真合在瑶池，以素蘤多蒙别艳欺写素花被欺、以此花真合在瑶池写莲在瑶池，写尽素蘤多蒙别艳欺、此花真合在瑶池之情。以莲起兴，含蓄而深婉，是「以莲起兴」的妙笔。

The opening line writes the white blossom is often wronged by the other bright flowers; this flower truly belongs by the Jasper Pool, the white lotus's being wronged. The words white blossom write the white flower, wronged by the other bright flowers the envy, truly belongs by the Jasper Pool the otherworldly home. The line writes to the full the feeling of the wronged white blossom. Rising through the flower, the object poem's opening.

还应有恨无人觉，月晓风清欲堕时。

It must still hold a grief none perceive, at dawn under the moon, in the clear wind, as it is about to fall.

还应有恨无人觉，月晓风清欲堕时。

It must hold a grudge no one knows, at dawn when the moon is pale and the wind is clear, about to fall.

尾二句写月晓风清欲堕时，是全诗立意的落点。「还应有恨无人觉」写还应有恨无人觉，「还应有恨」写还应有恨、「无人觉」写无人知觉；「月晓风清欲堕时」写月晓风清欲堕时，「月晓风清」写月晓风清、「欲堕时」写欲堕之时。两句一写还应有恨无人觉、一写月晓风清欲堕时，以还应有恨无人觉写有恨无人觉、以月晓风清欲堕时写风清欲堕，写尽还应有恨无人觉、月晓风清欲堕时之情。以莲写志，含蓄而深婉，是全诗最动人处，也是「以莲写志」的点睛之笔。

The closing line writes it must hold a grudge no one knows, at dawn when the moon is pale and the wind is clear, about to fall, the flower's secret grief. The words must hold a grudge write the unspoken grief, no one knows the unnoticed, at dawn when the moon is pale and the wind is clear, about to fall the moment of falling. The line writes to the full the feeling of the unnoticed grudge. Writing the grief through the moonlit dawn, the object poem's eye-dotting close.

Study

Word focus

素 The word 'white' (plain) marks the lotus's unadorned purity, the ground of its being wronged by gaudier blooms. 「素」字写素蘤多蒙别艳欺，是写素花之态的关键。「素蘤多蒙别艳欺」着一「素」，写素白——着一「素」字，写素蘤多蒙别艳欺，见其花之素。一字写尽素花之态，是「以一字写素」的妙笔。「素」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
欺 The word 'wronged' personifies the slight the plain blossom suffers from showier flowers, the poem's central grievance. 「欺」字写别艳欺，是写被欺之态的关键。「素蘤多蒙别艳欺」着一「欺」，写欺负——着一「欺」字，写素蘤多蒙别艳欺，见其花被欺。一字写尽被欺之情，是「以一字写欺」的点睛之词。「欺」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
瑶池 The 'Jade Pool' is the fairy lake; citing it marks the lotus as otherworldly and pure, above common flowers. 「瑶池」写此花真合在瑶池，是用瑶池之典写莲之高洁的关键。「此花真合在瑶池」着一「瑶池」，写瑶池——着一「瑶池」，用仙池之典写此花真合在瑶池，见其花之仙。两字写尽瑶池之态，是「以词写仙」的点睛之词。「瑶池」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
欲堕 The phrase 'about to fall' catches the flower at its falling moment, the clear-wind dawn where hidden grief shows. 「欲堕」写月晓风清欲堕时，是写欲堕之态的关键。「月晓风清欲堕时」着一「欲堕」，写欲坠落——着一「欲堕」，写月晓风清欲堕时，见其花欲堕。两字写尽欲堕之态，是「以词写落」的点睛之词。「欲堕」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

山园小梅 Little Plum of the Mountain Garden 林逋 · 同写咏花言志、以物喻志，一写疏影横斜水清浅暗香浮动月黄昏、一写素蘤多蒙别艳欺此花真合在瑶池，皆于咏花之中见言志 Both sing a flower for the self: one plum, one lotus.

Lin Bu's 'Little Plum' ('slender shadow, slanting across clear water; faint scent, floating under the moon at dusk') praises the plum's elegance; this poem the lotus's concealed grief. Together they show flower-lyrics of self in two keys.

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、言志，是宋诗咏物的绝唱；陆龟蒙《白莲》则以「素蘤多蒙别艳欺，此花真合在瑶池」「还应有恨无人觉，月晓风清欲堕时」写素蘤多蒙欺、月晓风清欲堕时。两诗同写咏花言志、以物喻志：一写疏影横斜水清浅暗香浮动月黄昏、以梅写清雅，一写素蘤多蒙别艳欺此花真合在瑶池、以莲写志；一为林逋之清逸、一为陆龟蒙之婉丽，并读正可见诗写「咏花言志」的两种笔法，皆于咏花之中见言志。

 浣溪沙·一曲新词酒一杯 Tune: Sand of the Washing Brook — A New Song, a Cup of Wine 晏殊 · 同写感怀言志、无可奈何，一写无可奈何花落去、一写还应有恨无人觉月晓风清欲堕时，皆于感怀之中见言志 Both brood with helpless feeling: one time, one lotus.

Yan Shu's 'Washing Brook' ('helpless, flowers fall; familiar, swallows return') broods on time; this poem broods on a hidden grief. Together they show brooding in two manners.

晏殊《浣溪沙·一曲新词酒一杯》「无可奈何花落去，似曾相识燕归来」，写感怀言志，是宋词小令的名篇；陆龟蒙《白莲》则以「还应有恨无人觉，月晓风清欲堕时」「素蘤多蒙别艳欺，此花真合在瑶池」写有恨无人觉、素蘤多蒙欺。两诗同写感怀言志、无可奈何：一写无可奈何花落去、以花落燕归写惜时，一写还应有恨无人觉月晓风清欲堕时、以有恨无人觉写感慨；一为晏殊之温润、一为陆龟蒙之婉丽，并读正可见诗写「感怀言志」的两种笔法，皆于感怀之中见言志。