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唐 Tang · 诗 Poem

秋登兰山寄张五

Climbing Orchid Mountain in Autumn, Sent to Zhang Wu

孟浩然

Meng Haoran

隐逸reclusion 友情friendship

秋登兰山寄张五北山白云里，隐者自怡悦。
相望试登高，心随雁飞灭。
愁因薄暮起，兴是清秋发。
时见归村人，沙行渡头歇。
天边树若荠，江畔洲如月。
何当载酒来，共醉重阳节。

North Mountain amidst white clouds,
The hermit finds joy in himself.
Looking afar, I try to climb high,
My heart follows the wild geese until they vanish.
Sorrow rises with the dusk,
Delight springs from the clear autumn.
Sometimes I see villagers returning home,
Resting at the ferry on the sandy shore.
Trees at the horizon look like shepherd's purse,
The islet by the river like a crescent moon.
When will you bring wine and come,
So we can get drunk together on Double Ninth Festival?

Listen

Meaning

The poet climbs a mountain in autumn, enjoys the serene views, and expresses his longing for a friend, inviting him to share a drink on the Double Ninth Festival.

北山白云缭绕之处，隐者自得其乐。彼此相望，试着登高远眺，心随飞雁渐渐隐没天际。愁绪因薄暮而生，兴致由清秋而发。时时望见归村的行人，在沙岸渡头歇息。天边的树木细小如荠菜，江畔的沙洲弯弯似新月。何时你能载酒前来，与我同醉于重阳佳节。

Appreciation

This poem is a letter to a friend, blending reclusive joy with autumnal scenes. The language is simple yet vivid, with famous couplets like 'Trees at the horizon look like shepherd's purse...' which create a miniature effect of distant landscapes.

【白话串讲】孟浩然秋日登兰山想念张五：“北山白云里，隐者自怡悦”。“天边树若荠，江畔洲如月”——天边的树像荠菜，江畔的洲像月亮。“何当载酒来，共醉重阳节”——什么时候带酒来，一起醉重阳？【意象与手法】诗由「隐者自怡悦」起，定下闲适基调。中间写景层次分明：登高望雁、薄暮生愁、清秋兴发、归人歇渡、远树如荠、沙洲如月，由远及近又由近及远，画面疏淡如画。炼字尤工——「愁因薄暮起，兴是清秋发」以因果对写情随景生；「天边树若荠，江畔洲如月」以荠、月为喻，写远景之微茫【情感与主旨】此诗为孟浩然隐居襄阳时寄赠友人张諲（张五，排行五，善书画，亦隐居）之作。孟浩然一生不仕，隐于鹿门、岘山一带，与王维并称「王孟」。诗中写秋日登高所见清远之景，兼抒对友人的思念与重阳共醉之约，全诗平淡自然，是孟诗「清空闲远」风格的代表【名句点睛】考点重在景物描写层次与炼字。常问：「天边树若荠，江畔洲如月」运用了什么手法？答：比喻（以荠、月喻远景，化远为近）与对仗；亦考「何当载酒来，共醉重阳节」化用陶渊明重阳白衣送酒之典的隐逸情调

Background

Meng Haoran, a Tang poet who never entered officialdom, wrote this while living in seclusion near Xiangyang. The poem is addressed to his friend Zhang Wu, also a hermit. 'Orchid Mountain' is near Xiangyang (also known as Wan Mountain).

此诗为孟浩然隐居襄阳（今湖北襄阳）时期寄赠友人张諲（排行第五，故称张五，善书画，亦隐居）之作，约作于盛唐开元年间。孟浩然一生不仕，隐于鹿门山、岘山一带，与王维并称「王孟」，是盛唐山水田园诗派的代表。张諲为襄阳人，工诗善画，与孟浩然友善，二人皆隐于襄阳，时有唱和。「兰山」或作「万山」，在襄阳城外汉水之滨，诸本异文；此从题面作「兰山」。诗中写秋日登高所见清远之景，兼抒对友人的思念与重阳共醉之约。孟浩然以布衣终老，其诗多写隐逸之乐、山水之趣与友朋之情，风格平淡自然、清空闲远；此诗即其「清空闲远」风格的代表作，将登高、怀人、秋景、邀约熔于一炉，是理解孟浩然隐逸情怀与山水诗成就的重要作品。此诗为孟浩然山水田园诗的代表，历代评家或以「清旷」目之，或以「淡远」许之，其将隐逸生活诗化的成就，对后世隐逸文学影响深远。亦为后世学诗者提供了「以淡写浓」的范本。

Art

The poem begins with a hermit's joy, then moves through layers of autumn scenery: climbing, geese, dusk, villagers, distant trees, islet. The final couplet invites the friend, seamlessly blending scene and emotion. Meng Haoran's style is 'clear, spacious, and distant'.

此诗章法井然，由登高写起，以怀人收束，中间写景层次分明、炼字精工。首句「北山白云里，隐者自怡悦」以隐者自况，定下闲适基调，化用陶渊明《归去来兮辞》「云无心以出岫」之逸趣。次句「相望试登高，心随雁飞灭」写怀人：登高以望友人，而心随飞雁远逝，思情如水泻出。中间四句写景：「愁因薄暮起，兴是清秋发」以因果对写情随景生；「时见归村人，沙行渡头歇」写人间烟火，以归人歇渡衬己之独登；「天边树若荠，江畔洲如月」以荠、月为喻，写远景之微茫，由远及近又由近及远，画面疏淡如画。结句「何当载酒来，共醉重阳节」由景入情，邀友收束，从容不尽。全诗情景交融，炼字尤工——「若」「如」之喻、「自」「试」「何当」等虚字，皆于平淡处见功力，是孟诗「淡到不见工处工」的典范。尤其「时见归村人，沙行渡头歇」一句，以人间烟火入画，与孤高之隐者相对照，愈见隐逸之趣，是孟诗「以俗衬雅」的妙笔。

Allusions

The line 'trees like shepherd's purse' echoes earlier poetry, and 'drunk at Double Ninth' alludes to Tao Yuanming's chrysanthemum-drinking. But Meng uses common language, not obscure references, achieving a natural effect.

此诗用典不多而化用前人成句。「隐者自怡悦」暗合陶渊明《饮酒》「此中有真意，欲辨已忘言」的隐逸情调，及陶诗「怡然有余乐」之趣，写隐者自得之乐；「白云」自陶弘景「山中何所有，岭上多白云」以来为隐逸之象征，北山白云，正是隐者居所之写照。「树若荠」语本《乐府》「遥望荠星」及薛道衡《敬酬杨仆射山斋独坐》「遥原树若荠」，以荠菜喻远树之微茫，是六朝以来写远望的名喻；「江畔洲如月」则以新月喻沙洲之弯，与前句相对成联。「共醉重阳节」化用陶渊明重阳赏菊、白衣送酒之故实——陶渊明重阳日于东篱采菊，王弘遣白衣人送酒，二人共醉，此处以重阳共醉为约，暗以陶潜自期。孟浩然以寻常语、眼前景写隐逸交友之乐，不假僻典而意蕴自足，正见其「淡到不见工处工」的语言功底。其用典之淡、用意之深，正合严羽《沧浪诗话》「羚羊挂角，无迹可求」之评，是盛唐诗人以常语写深情、化典于无形的典范。

Commentary

Ming critic Hu Yinglin praised this poem's tranquility. It is considered a masterpiece of the 'clear and distant' style, pairing with Wang Wei as representative of Tang landscape poetry.

明人胡应麟《诗薮》评孟浩然诗「淡而远，如『天边树若荠，江畔洲如月』，真画出襄阳秋色」，极赏其写景之工；清人沈德潜谓孟诗「阁笔清远，不求工而自工」。近人闻一多称孟浩然「将隐逸写成一种生活方式」，此诗正是其生活方式的诗意呈现。历代以「清旷」目孟诗，与王维并尊为盛唐山水田园诗之双璧，而王维澄淡造境、孟浩然清空叙事，各极其妙。此篇尤见孟诗「淡而有味」的本色：写景如画而不事雕琢，抒情含蓄而不失真率，怀人不写愁苦而写邀约，闲适之中见深情。其「天边树若荠，江畔洲如月」二句，更成为后世写远景的名喻，为杜甫「春水船如天上坐」、温庭筠「鸡声茅店月」等句所祖，影响深远，是盛唐山水诗中最具代表性的一篇寄友之作。后世山水田园诗人如韦应物、柳宗元等，皆于孟诗「清空」一路有所取法，此诗之影响可见一斑，是研究盛唐山水诗不可或缺的篇目。

Prosody

Form five-character ancient-style poem五言古诗（五古）

Rhyme Rime categories ru/shi (entering tone) etc., e.g., 悦, 灭, 发, 歇, 月, 节押入声韵（悦、灭、发、歇、月、节），屑月部通押，一韵到底

Tone pattern not strict古体不拘平仄，句句五言，音节舒徐

Reading note A pentasyllabic ancient-style poem by Meng Haoran, expressing reclusive joy and friendship.此诗为五言古诗，押入声韵：悦（屑）、灭（屑）、发（月）、歇（屑）、月（月）、节（屑）等字，屑、月二部通押，一韵到底，入声韵短促而有顿挫，正合登高怀人、清秋生愁的沉郁情调。古体诗不拘平仄对仗，然此诗却于不经意间多有对偶，如「愁因薄暮起，兴是清秋发」「天边树若荠，江畔洲如月」「何当载酒来，共醉重阳节」，对仗工稳而不见雕琢，是古体中的「律化」倾向，亦见孟浩然由齐梁永明体向近体过渡的痕迹。全诗以「隐者自怡悦」起、以「共醉重阳节」收，中间写景由远及近、由近及远，层次分明；句式舒徐，音节流美，诵读之际如见秋山白云、江畔孤洲，正是孟诗「清空闲远」风格在音律上的体现，也是盛唐五古由汉魏质实向清空流转的代表作品。

Line by line

北山白云里，隐者自怡悦

Within the white clouds of the North Hill, the recluse of himself delights.

北山白云缭绕之处，隐者自得其乐

In the white clouds winding about the North Hill, the recluse of himself takes his joy.

起笔以隐者自况，定下全诗闲适基调。「北山白云里」写隐居之境：北山之上，白云缭绕——白云自陶弘景「山中何所有，岭上多白云」以来即为隐逸之象征，北山白云，正是隐者居所之写照，清远之境如在目前；「隐者自怡悦」写隐居之乐：隐者于此自得其乐——「自」字最妙，写其自足自得、不假外求之乐，正是陶渊明「此中有真意，欲辨已忘言」的隐逸情调。此二句以「隐者」自称（或指张五），开篇即标明身份与立场：我不是尘网中人，而是北山白云里的隐者，怡然自得。起笔之闲适，为全诗定下基调，也为后文登高怀人、重阳邀约的「乐」与「约」作了人格的铺垫——隐者之乐，在于与友人共享山水。

The opening figures the recluse in the self, tuning the whole's leisured keynote. 'Within the white clouds of the North Hill' the realm of reclusion: above the North Hill, the white clouds winding — the white clouds, since Tao Hongjing's 'what is there in the mountains? on the ridges many white clouds', the symbol of reclusion, the North Hill's white clouds precisely the portrait of the recluse's dwelling, the clear, far realm as before the eyes; 'the recluse of himself delights' the joy of reclusion: the recluse here takes his joy of himself — the word 'of himself' the finest, writing the self-sufficiency, the joy without seeking the outer, precisely Tao Yuanming's 'within this is the true meaning, I would explain it and have forgotten the words'. These two lines take 'the recluse' as self-title (or refer to Zhang Wu), naming at once the identity and the stance: I am not a man of the world's net, but the recluse of the North Hill's white clouds, content of himself. The opening's ease tunes the whole's keynote, and stores the groundwork of character for the later climbing the height and missing the friend, the Double Ninth invitation's 'joy' and 'invitation' — the recluse's joy lies in sharing hills and streams with the friend.

愁因薄暮起，兴是清秋发

Sorrow rises with dusk, delight from autumn: parallel structure linking emotion to season.

愁绪因薄暮而生，兴致由清秋而发

Grief rises with the dusk; delight is aroused by the clear autumn.

此联以因果对写情随景生，是全诗情感与景物的枢纽。薄暮时分，暮色苍茫，登高望远而不见友人，愁绪油然而生；清秋时节，天高气爽，山明水净，诗兴亦随之勃发。「因」「是」二字将情与景的因果关系统统点明：不是无端生愁，而是薄暮惹愁；不是勉强寻兴，而是清秋发兴——情由景生，景以情显，情景交融而毫不隔阂。愁与兴并举，正见登高怀人之复杂心绪：思念友人故愁，欣赏秋光故兴，愁兴交织，恰是隐者登高的真实心境。此联对仗工稳而自然，以虚字「因」「是」领起，化因果为对偶，炼字精审而不着痕迹，是孟诗「清空」风格的代表句式，也为后文的远景描写作了情感铺垫。

This couplet, through the cause-effect pairing, writes feeling born of scene, the pivot of the poem's emotion and scenery. At dusk, the twilight dim, climbing the height and gazing far without seeing the friend, the grief of itself rising; in the clear autumn, the sky high and the air bracing, the hills bright and the water clear, the poetic delight with it bursting. The words 'through' and 'is' name the cause-effect order of feeling and scene: not grief without cause, but the dusk arousing the grief; not a forced seeking of delight, but the clear autumn arousing the delight — feeling born of scene, the scene shown through feeling, scene and feeling fused without a gap. Grief and delight together, precisely showing the complex mood of climbing the height and missing the friend: missing the friend hence grief, admiring the autumn light hence delight, grief and delight interwoven, precisely the recluse's true mood at the height. This couplet, exact and natural, led by the function words 'through' and 'is', turning cause-effect into couplet, the word-craft exact and without trace, the representative sentence of Meng's 'clear and empty' style, and the emotional groundwork for the later distant prospect.

天边树若荠，江畔洲如月

Trees at horizon like shepherd's purse, islet like crescent moon: vivid similes creating a distant, miniature landscape.

天边的树木细小如荠菜，江畔的沙洲弯弯似新月

The trees at the horizon are small as shepherd's-purse; the sandbar by the river is like the moon.

此联写登高远眺之景，是千古写远景的名句。「天边树若荠」写极目远望，天边之树细小如荠，以微小之物喻远观之物，写出秋空辽阔中景物的微茫朦胧；「江畔洲如月」写江畔沙洲弯曲如新月，以月喻洲，既写其形之弯，又暗含其色之白。两喻皆取日常微小之物（荠菜、新月），以之比远处景物，化远为近、化大为小，正是「以大观小」的远望之法；「若」「如」二字看似平常，却将远景之微茫、秋空之澄澈写得如在目前。此联对仗工丽而不板滞，一写树、一写洲，一写天边、一写江畔，视野开阔而层次分明，是孟浩然写景「淡而远」的最高体现，也是中国山水诗写远景的经典范式。

This couplet writes the distant prospect at the height, a famous line through the ages of writing the far view. 'The trees at the horizon are small as shepherd's-purse' — gazing to the utmost, the horizon's trees small as the shepherd's-purse, using the tiny thing to figure the far-seen thing, writing the faintness and dimness of objects in the autumn sky's vastness; 'the sandbar by the river is like the moon' — the riverbank sandbar curved like the new moon, using the moon for the bar, both writing its curved shape and secretly its white color. The two metaphors both take the daily tiny things (the shepherd's-purse, the new moon), comparing them to the distant scene, turning the far into the near, the great into the small, precisely the far-view method of 'the great through the small'; the words 'as' and 'like' seem plain, and write the far view's faintness and the autumn sky's clarity as before the eyes. This couplet, exact and graceful without stiffness, one the trees one the bar, one the horizon one the riverbank, the view open and the layers clear, the highest showing of Meng Haoran's scenic writing's 'plain and far', and the classical model of the Chinese landscape verse's far view.

何当载酒来，共醉重阳节

When will you bring wine and come, so we can get drunk together on Double Ninth Festival: invitation that turns scene into affectionate longing.

何时你能载酒前来，与我同醉于重阳佳节

When will you bring wine and come, to be drunk with me on the Double Ninth?

结句由景入情，邀友收束，是全诗情感的总归落。「何当」二字写期盼——何时、哪一天，语气恳切而从容，将前面的清远秋景顺转为对友人的邀约；「载酒来」写友人携酒而至，暗用陶渊明重阳白衣送酒之典，以隐者之交期待友人；「共醉重阳节」点出时间与方式：重阳佳节，登高饮酒，共醉秋光。此句的妙处在于以约代思：通篇怀人，不说「思君」而说「载酒来」，将思念化为具体可待的欢聚之约，隐者的洒脱与友情的深挚并存；又以重阳共醉收束，与开篇「隐者自怡悦」遥相呼应，隐逸之乐与友朋之情合而为一，情韵悠长，余味不尽。

The closing line turns from scene to feeling, closing in the invitation to the friend, the total landing of the poem's emotion. The words 'when will' write the longing — when, on what day, the tone earnest and unhurried, turning the above clear, far autumn scene smoothly into the invitation to the friend; 'bring wine and come' the friend's coming with wine, secretly using the allusion of Tao Yuanming's Double Ninth white-robed wine-bearer, expecting the friend in the recluse's bond; 'to be drunk with me on the Double Ninth' naming the time and the way: the Double Ninth festival, climbing the height and drinking, drunk together in the autumn light. The beauty of the line is writing the missing through the invitation: the whole misses the friend, and says not 'I think of you' but 'bring wine and come', turning the longing into a concrete, expectable feast, the recluse's freedom and the friendship's depth together; and closing in the Double Ninth's shared drunkenness, echoing from afar the opening's 'the recluse of himself delights', the recluse's joy and the friendship one, the feeling long, the aftertaste endless.

Study

Word focus

若 like, as: used in simile 'trees like shepherd's purse' to create a tiny, distant image. 「天边树若荠，江畔洲如月」之「若」「如」，是写远景微茫的关键炼字。以荠菜喻远树、以新月喻沙洲，皆取微小之物比远处之景，「若」「如」二字看似平常，却将「大」（远景）与「小」（荠、月）之间的视觉换算点明，写出登高远望时景物缩微、朦胧如画的观感。这两个字的作用有三：其一，化远为近，将天边之树、江畔之洲拉到眼前，如画幅般可辨；其二，化实为虚，树不必真是荠，洲不必真是月，而取其形神相似，留出想象空间；其三，化景为趣，以日常小物喻山川大景，亲切而有味。炼字之精，在选喻之恰切：荠之微、月之弯，皆与远树、沙洲之形神暗合，一字之喻，境界全出。

何当 when will: expresses anticipation and longing, turning the scenery into a personal invitation. 「何当载酒来」之「何当」，意为何时、哪一天，是全诗由景入情、由写景转邀约的枢纽词。此词妙在语气：不是直问「你何时来」，而是虚设悬想「何当」，恳切中带着从容，期盼中含着洒脱，正合隐者口吻。登高望景，心有所感，遂转念邀友共醉，「何当」二字将眼前的秋景、心底的思念一并托起，化为对重阳欢聚的具体期待——思念不言愁苦而言载酒，期盼不写焦急而写共醉，隐者的深情与旷达于此并见。此词亦与开篇「隐者自怡悦」遥应：怡悦独处之乐，转而为待友共醉之约，一己之乐升华为友朋之乐，情韵由淡而浓，收束从容，余味不尽。