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唐 Tang · 诗 Poem

过故人庄

Visiting an Old Friend's Farmstead

孟浩然

Meng Haoran

田园Pastoral 友情Friendship 隐居Seclusion

故人具鸡黍，邀我至田家。
绿树村边合，青山郭外斜。
开轩面场圃，把酒话桑麻。
待到重阳日，还来就菊花。

An old friend prepared chicken and millet,
And invited me to his farmhouse.
Green trees surround the village,
Blue hills slant beyond the city wall.
Opening the window facing the field and garden,
Holding wine, we talk of mulberry and hemp.
When the Double Ninth Festival comes,
I'll come again for the chrysanthemums.

Listen

Meaning

The poet is invited by an old friend to a country farmhouse. He describes the serene scenery, the warm hospitality, and the pleasant conversation about farming. He promises to return during the Chrysanthemum Festival, expressing deep friendship and love for rural life.

老朋友备办了鸡黍饭菜，殷勤邀我到他的田庄作客。翠绿的树木在村边环绕合抱，青色的远山在城郭外横斜延展。推开窗户正对着打谷场和菜圃，端起酒杯闲话着农桑往事。等到重阳佳节那一天，我还要再来就着菊花把酒言欢。

Appreciation

The poem portrays a simple country visit with genuine friendship. The language is plain but vivid, especially lines 3-4 which depict the scenery with precise words like 'surround' and 'slant'. The ending shows deep affection and anticipation. It exemplifies the pastoral style of Meng Haoran—plain yet profound.

【白话串讲】老朋友准备了鸡和黄米饭，邀孟浩然去乡下住了一晚。绿树青山、把酒话桑麻——这大概是中国诗里最舒服的一次赴约，舒服到还没走，就约好了重阳再来。【意象与手法】全诗以「邀—至—看—饮—约」为叙事之脉，语淡而味浓、景真而情挚。中间两联对仗工稳而不露痕迹，「合」「斜」炼字精当；以绿树青山、场圃桑麻、重阳菊花等寻常意象，白描出冲淡闲远的田园意境，不事雕琢而天然浑成，是田园诗「清如水、淡如菊」的样板。【情感与主旨】孟浩然一生多隐居襄阳鹿门山，以山水田园诗名世，虽被荐赴长安而终未出仕，交游甚广。此诗借赴田家之约，写宾主把酒话桑麻、重阳还来就菊花的深情，于平淡的农家生活中见真挚友谊与隐逸之乐，寄托对田园生活的由衷眷恋，体现盛唐田园诗派「返璞归真」的审美理想。【名句点睛】常考「绿树村边合，青山郭外斜」的炼字（合、斜）与写景手法；「故人具鸡黍」的典故（鸡黍之约、荷蓧丈人）与情感内涵；「还来就菊花」之「就」字的表达效果；以及全诗「淡而有味、语淡情真」的艺术风格。

Background

Meng Haoran spent most of his life in seclusion at Lumen Mountain. He was known for his pastoral poems. This poem records a visit to an old friend in the countryside, showing his love for rural life and friendship.

孟浩然（689—740），襄阳人，早年隐居鹿门山，四十岁始游京师，与王维、张九龄交厚，终因布衣之身未获仕进，归隐终生，以山水田园诗名世，与王维并称「王孟」。此诗写他应村居老友之约前往田家作客、把酒话旧、临别再约的情景，当作于其隐居襄阳、往来田家之际。盛唐田园诗派以王维、孟浩然为代表，多写隐逸闲适、山水田园之乐，孟诗尤以「清淡」见长，苏轼谓其「韵高才短」实非定评，其高处在语淡情真、天然浑成。《过故人庄》是其田园诗中最亲切自然的一篇，也是盛唐以日常生活入诗而臻至境的名作，历代选本几无遗漏，为孟浩然五言律诗中的本色之作，历来与《春晓》《宿建德江》并称其三大名篇。今人读此诗，犹可想见盛唐文人于功名之外另有的一片天地：田园之乐不在山林之高，而在鸡黍之诚、桑麻之话、菊花之约这样的日常温情之中，这正是盛唐田园诗最可贵的生命质感，也是此诗历经千载而愈见其醇的原因所在。

Art

The language is simple yet profound. The poem is structured as a narrative: invitation, journey, arrival, feast, and future appointment. The couplets are balanced but natural. The words 'he' (encircle) and 'xie' (slant) are skillfully used. The overall style is serene and genuine.

此诗艺术之妙，全在一个「淡」字，淡中见厚、朴中藏深。全诗以叙事为脉，「邀—至—看—饮—约」五字次第展开，章法井然却不见斧凿。首联「故人具鸡黍，邀我至田家」纯用口语叙事，不事渲染，而老友之诚、赴约之乐自在其中；颔联「绿树村边合，青山郭外斜」由近及远写田家环境，绿树环合、青山横斜，一幅清丽平和的乡村图画；颈联「开轩面场圃，把酒话桑麻」由景及人，把酒闲话农桑，主客相得之情溢于纸上；尾联「待到重阳日，还来就菊花」以预约作结，余兴未尽、余情悠长。中间两联对仗工稳而自然，「合」「斜」炼字精当，以动态写静景；全诗不用奇字僻典，不作惊人之语，以寻常语写寻常景，却自有冲淡闲远的意境，正是田园诗「清水出芙蓉，天然去雕饰」的样板。尤其值得注意的是，此诗虽为律诗，却全以散文的笔法行文，叙事、写景、言情三者一线贯穿，无一处突兀，无一处闲笔；读者不觉其为诗，而觉其为家常话，这正是孟浩然「以诗为话」的高明处——愈是举重若轻，愈见其炉火纯青。

Allusions

'Chicken and millet' alludes to a story in the Analects about hospitality. 'Mulberry and hemp' represent farming, a common theme in pastoral poetry. 'Chrysanthemums' relate to the Double Ninth Festival and Tao Yuanming's love for chrysanthemums.

「故人具鸡黍」一句兼用两典：一是《论语·微子》荷蓧丈人「杀鸡为黍而食之」，写农家待客的质朴真诚；二是《后汉书》范式与张劭「鸡黍之约」的典故，范式千里赴约、如期而至，后世以「鸡黍」代指笃守信义的友谊，孟浩然借以写老友款待之诚，平实语中自见古人风义。「桑麻」代指农事，化用陶渊明《归园田居》「相见无杂言，但道桑麻长」的田园意趣，把酒闲话桑麻，正是隐者之间最惬意的交谈。「就菊花」点出重阳赏菊的节俗，暗承陶渊明「采菊东篱下」与重阳九日白衣送酒的雅事：菊之为物，清高淡雅，正与诗人品格相合；一个「就」字，写出重阳再赴的主动与亲近。全诗用典皆融化于家常语中，不滞不露，故不觉其典而愈觉其雅，是孟诗「淡而有味」的注脚。此外，「田家」「场圃」等意象亦自有渊源：《诗经·豳风·七月》「九月筑场圃」写打谷场与菜园的农事，孟浩然以「面场圃」写轩窗之对，正接《诗经》农事写实的传统；「绿树」「青山」则取意清新，不含典故而自有画境，可见孟诗用典之活——典入常语则不觉其典，常语入诗则愈显其雅。

Commentary

Shen Deqian praised its plainness with deep meaning. Su Shi said Meng was lofty but short of talent, but this poem shows the peak of pastoral poetry—simple yet flavorful.

历代论者极推此诗。沈德潜《唐诗别裁》评孟浩然诗「语淡而味终不薄」，又谓「襄阳诗如秋水澄潭，一碧万顷」；纪昀评此诗「平平淡淡，却字字是诗」，正是「淡而有味」的极致。苏轼尝谓孟浩然「韵高而才短，如造内法酒手而无材料」，然此诗清浅自然、情致自足，正见其以韵胜不以才胜的本色，历来推为孟浩然田园诗的代表作。唐人殷璠《河岳英灵集》称孟诗「文不按古，匠心独妙」，观此诗叙事、写景、言情浑然一气，语语家常而章法严密，足见其「妙」处。此诗与王维田园诗并峙，一清一雅、一淡一秀，共同奠定盛唐田园诗「自然清新」的典范，千载之下读之，犹觉田家风味、故人情谊扑面而来。从接受史看，此诗自《唐诗三百首》收录后，更为家喻户晓，「故人鸡黍」「把酒话桑麻」成为田园友情的代名词；后世文人题咏田园、寄怀故交，多以此诗为典范，可见其在中国人集体记忆中的分量。千载之下，孟浩然其人其诗，正与此诗同其淡远。

Prosody

Form Five-character regulated verse (oblique tone, first line not rhymed)五言律诗（仄起首句不入韵）

Rhyme rhymes in 'ia' (jia, xie, ma, hua) – note ancient pronunciation of xie as xia押平水韵下平六麻韵：家、斜、麻、花（「斜」古音读 xiá，属麻韵）

Tone pattern Five-character regulated with oblique tone pattern; middle couplets are parallel五律仄起首句不入韵，首句「故人具鸡黍」为仄仄平平仄；中间两联「绿树村边合，青山郭外斜」「开轩面场圃，把酒话桑麻」对仗工整，一景一情、一外一内，声律舒缓平和，与田园情调相谐。

Reading note The regulated form is so natural it seems effortless, a hallmark of Meng's pastoral style.此诗为五言律诗，仄起首句不入韵，首句「故人具鸡黍」仄仄平平仄，不入韵而以下平六麻之「家、斜、麻、花」押韵，其中「斜」依古音读 xiá，正与「家、麻、花」同韵，读来圆转浏亮。中间两联严格对仗：颔联「绿树—青山」「村边—郭外」「合—斜」，名词对名词、方位对方位、动词对动词，工稳而不见斧凿；颈联「开轩—把酒」「面—话」「场圃—桑麻」，一写景一写人，虚实相生。全诗平仄谐和，无拗无救，节奏舒缓，正与田家闲适的情调相合。孟浩然律诗向以「清淡」胜，此诗叙事、写景、言情层层递进，章法严密而语言家常，纪昀所谓「平平淡淡，却字字是诗」；沈德潜称其「语淡而味终不薄」，皆就此「律法中见古淡、淡到看不见工」的境界而言。五律之体至此，不惟合律，且能以常语驭严律，遂为盛唐田园律诗的典范。

Line by line

故人具鸡黍，邀我至田家。

An old friend prepared chicken and millet and invited me to his farmhouse. This opening uses the allusion of the 'chicken and millet' appointment to show deep friendship.

老友备了鸡黍饭菜，殷勤邀我到他的田庄。

An old friend has prepared chicken and rice, and invites me to his farm.

开篇即用叙事，不发议论、不加渲染，纯以家常语入诗。「具鸡黍」三字见老友待客之诚：杀鸡炊黍，是农家最隆重的款待，而「邀我至田家」更点明赴约之由与宾主之谊。「具」「邀」二字一写备办之勤、一写相邀之切，主客情分于平实叙述中自然流露。此处用「鸡黍」暗合范式张劭「鸡黍之约」的典实，虽未明言，而笃信守约、至交情厚之意已寓其中。全诗以这一句家常话起笔，不矜才、不使气，却为全篇定下亲切朴厚的基调，正是孟浩然「语淡情真」的本色，也是盛唐田园诗以日常人情入诗而臻高格的典范。

The opening uses narrative at once, no argument, no ornament, only plain household speech. 'Prepared chicken and rice' shows the friend's sincerity — chicken and millet are the farmhouse's richest fare; 'invites me to his farm' names the occasion and the bond. The words 'prepared' and 'invited' write the haste of hosting and the warmth of the ask. The phrase 'chicken and rice' quietly carries the old pledge of Fan Shi and Zhang Shao, the faithful friendship hidden without a word. The poem begins in this plainness, neither showing off talent nor straining for effect, setting a warm, simple tone — Meng Haoran's 'plain words, true feeling'.

绿树村边合，青山郭外斜。

Green trees encircle the village; blue hills slant beyond the city wall. The words 'he' (encircle) and 'xie' (slant) vividly depict the harmonious rural landscape.

绿树在村边环绕合抱，青山在城郭外横斜延展。

Green trees girdle the village; pale hills slope beyond the walls.

此联是田园写景的千古名句，写诗人进村前所见的远近之景。「合」字写绿树环抱村舍、蓊郁四合之态，以静写动、以聚写势，仿佛树木有情，将田家密密护住；「斜」字写青山在城郭之外横斜延展、绵延无尽之势，一「合」一「斜」，一近一远、一聚一散，对仗工稳而自然如画，尽显村庄位置之佳与视野之阔。两句纯用白描，色彩清淡（绿、青），画面平和，毫无雕琢痕迹，却暗含「郭」字点出城郭之远、村落之僻，隐隐见出诗人远离尘嚣的喜悦，为尾联「还来」预埋情根，是孟诗写景「淡而愈永」的典范。

This couplet is a famous line of pastoral scenery, writing what the poet sees before entering the village. The word 'girdle' writes the green trees encircling the cottages, stillness turned to movement, as if the trees were kind and sheltered the farm; 'slope' writes the pale hills stretching beyond the walls, endless. One 'girdle', one 'slope', near and far, gathered and scattered, matched and natural as a painting, showing the village's fair setting and wide view. Pure description, pale colors (green, pale), a calm picture without ornament, yet the word 'walls' hints at the village's remoteness and the poet's joy at leaving the dust, setting up the closing 'I shall come again'.

开轩面场圃，把酒话桑麻。

Opening the window, we face the threshing ground and vegetable garden; holding wine, we talk about mulberry and hemp (farming). This shows the host and guest's relaxed conversation about daily life.

推开窗正对打谷场与菜圃，端起酒杯闲话农桑。

We open the window onto the threshing yard and garden, raising our cups to talk of mulberry and hemp.

此联由写景转入人事，是全诗情感的核心。「开轩」即推开窗户，「场圃」是打谷场与菜园，一「面」字写出轩窗正对农事场所的敞亮布置，主客对饮、推窗即见田家劳作之地，亲切如在目前；「把酒话桑麻」写宾主举杯畅谈农事，以农事代闲谈，足见二人交谊之深、情趣之合——不谈功名、不涉俗务，唯话桑麻，正是隐者之间最纯粹的交谈，化用陶渊明「但道桑麻长」而更见随和。两句一写景一写人、一外一内，动静相生，把田家留饮的温馨场景写得历历如绘，田园生活之真趣盎然纸上，是「由景入人」章法的典范。

This couplet turns from scenery to people, the heart of the poem. 'We open the window' onto the threshing yard and garden — the word 'face' writes the window opening directly on the farm work, host and guest drinking with the fields before them, intimate as life. 'Raising our cups to talk of mulberry and hemp' writes the two over their wine talking farming, using farm talk for idle chat, showing the depth of their bond and the matching of their tastes — no talk of rank or office, only of mulberry and hemp, adapting Tao Yuanming's 'only talk of the growth of hemp'. One line scenery, one line people, outer and inner, the warm farmhouse vividly drawn.

待到重阳日，还来就菊花。

When the Double Ninth Festival arrives, I will come again to enjoy the chrysanthemums. The promise of return highlights the poet's deep attachment to the place and the friend.

等到重阳佳节，我还要再来就着菊花把酒。

When the Double Ninth comes round, I shall come again for the chrysanthemums.

尾联以预约再会作结，是全诗最见情味的点睛之笔。重阳在九月九日，菊花正开，古人于此日赏菊饮酒，「就菊花」之「就」有亲近、趋赴之意，较「赏菊」「看菊」更显主动亲厚，写出诗人对田园生活与故人情谊的深深眷恋——酒未足、话未尽，而约期已定，主客欢洽之情不言而喻。此联妙在不说今日之欢，而说后日之约，以未来写当下，余兴未尽、余味悠长，平淡中见深情。且「待到」「还来」与首联「邀我」遥相呼应，赴约—欢饮—再约，章法回环，浑然一体，将田园交谊悠然收束，令人读罢犹觉菊香在鼻、情谊在心。

The closing couplet ends on a promise to meet again, the poem's warmest stroke. Double Ninth is the ninth day of the ninth month, when chrysanthemums bloom and men drink among them; the word 'for' in 'for the chrysanthemums' means drawing near to, going to, more active and warm than 'enjoying' or 'looking at' the flowers, writing the poet's deep attachment to farm life and to the friend. No talk of today's joy, but of a future date — through the future it writes the present, the pleasure unended, the aftertaste long. 'When... come' and 'I shall come again' answer the opening 'invites me', the visit — the drinking — the new date, circling round, gathering the pastoral friendship in, so that the reader seems still to smell the chrysanthemums.

Study

Word focus

合 / 斜 'he' means 'to encircle' and 'xie' means 'to slant'. These two verbs give dynamic life to the static scenery, showing the poet's refined word choice. 「绿树村边合」之「合」与「青山郭外斜」之「斜」，是此联的炼字之眼。「合」本写树木环抱聚合之态，此处用以写绿树将村庄密密围护，化静态为动态、化散景为聚势，仿佛绿意四合、扑面而来；「斜」本写物之倾侧，此处写青山在城郭外横斜延展，打破「远山」一词的平板，写出山势的绵延与灵动。二字皆以动词写静景，使画面顿生姿态；又构成工整的对仗——「合」是聚、「斜」是散，一近一远、一收一放，空间的层次感、画面的纵深感尽出。更重要的是，二字用语极平易，都是日常习见之字，却因安放得宜而生奇趣，正合孟浩然「遇景入咏，不钩奇抉异」的风格，是「以常字见功力」的范例。

话桑麻 'hua sangma' literally 'talk of mulberry and hemp'. It is a common phrase in pastoral poetry to mean discussing farming matters, indicating the host and guest's shared interest in rural life. 「把酒话桑麻」之「话」字，是此句的句眼。「话」即闲谈，较「论」「议」更显随意亲昵，写出主客对饮时无拘无束、娓娓而谈的情态；「桑麻」以农事代指家常闲话，是借代手法的妙用——不谈名利仕进，只话蚕桑稼穑，正是田园隐者最本色的谈资，化用陶渊明「相见无杂言，但道桑麻长」而来，而语气更见随和亲切。二字合用，「话桑麻」便成一幅生动的风俗画：酒香与麻香交融，笑语伴着晚风，主客相得无间之情、田园生活的真趣盎然纸上。用语极朴，却去雕饰而得醇味，是孟浩然「以淡胜」诗风的直接体现，也是此诗「语淡味浓」的最好注脚。

就 'jiu' means 'to approach, to go near'. Here it implies 'to enjoy the chrysanthemums' with a sense of intimacy and eagerness, more affectionate than simply 'appreciate'. 「还来就菊花」之「就」字，是全诗炼字的点睛之处。「就」有趋就、亲近之意，本义为「走向、靠近」，此处写诗人届时将再赴田家、亲近菊花，与「赏菊」「看菊」的旁观姿态不同，一个「就」字写出主动趋赴、乐在其中之情，仿佛菊花是故人、重阳是约会，诗人对田园的眷恋、对故人的情谊都在这主动亲近中流露无遗。此字之妙还在于与「还来」配合：「还来」已见归心，「就」字更见亲厚，二字叠用，把尾联的预约写得情致绵长。后人写重阳就菊者多承此字，而终无出其右，可见此字之不可移易。一字之工，全诗为之生色，是「炼在传神处」的典型。