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唐 Tang · 诗 Poem

赏春

Admiring Spring

罗邺

Luo Ye

芳草和烟暖更青，闲门要路一时生。
年年点检人间事，唯有春风不世情。

The fragrant grass, mingled with mist, grows greener in the warming air;
In one season it sprouts alike by idle gates and busy highways.
Year after year I inspect the affairs of the world of men —
Only the spring breeze knows nothing of the ways of the world.
Listen

Meaning

Warm mist deepens the green of the fragrant grass, which sprouts in a single season alike at forgotten gates and crowded thoroughfares. Reviewing the affairs of men year after year, the poet concludes that only the spring breeze is free of the world's cold calculations. A spring poem on the surface, the quatrain is in substance a quiet moral judgment on human indifference.

芳草和烟暖更青，闲门要路一时生。年年点检人间事，唯有春风不世情。

Appreciation

[Plain Paraphrase] Warm mist greens the fragrant grass; in one season it sprouts alike at quiet gates and busy roads. Year after year the poet reviews the affairs of men and finds that only the spring breeze is free of worldly calculation. [Structure] A textbook quatrain turn: the first couplet paints spring's impartial abundance, the second turns from scene to judgment, and the poem closes on a single, quiet verdict. [Imagery] Grass is the poem's hero — common, ignored, yet perfectly fair, flourishing where favor never reaches. Against it stand the busy roads, the world's favorite places. The spring breeze, knowing nothing of the ways of the world, becomes the poem's moral standard, and human society is found wanting without a word of direct blame.

【白话串讲】 罗邺写《赏春》：“芳草和烟暖更青，闲门要路一时生”——“年年点检人间事，唯有春风不世情”——他写赏春——唯有春风不世情。 【意象与手法】 “芳草和烟暖更青，闲门要路一时生”写芳草烟青；“年年点检人间事”写年年点检；结以“唯有春风不世情”以春风不世情写感慨。清隽感慨。 【情感与主旨】 罗邺写赏春之作，写芳草和烟暖更青而“唯有春风不世情”，借春风写人情冷暖，是赏春诗中的名篇。 【名句点睛】 常考“芳草和烟暖更青，闲门要路一时生”写芳草烟青；“年年点检人间事，唯有春风不世情”以春风写世情。

Background

Luo Ye (fl. late ninth century), a native of Yuhang, was a late-Tang poet who repeatedly failed the examinations and spent his life in minor office, dwelling in verse on poverty and injustice. That biography is the key to this poem: 'year after year I inspect the affairs of men' is the voice of a man who watched the world's rewards go to the well-connected while worth went unnoticed, as grass goes unnoticed at quiet gates. The piece belongs to the tradition of spring poems that end in moral reflection, and its bitter fairness is characteristic of late-Tang verse, when the confident vistas of the High Tang had narrowed into private rooms and private griefs.

《赏春》为唐代诗人罗邺所作诗。罗邺（约850年前后在世），余杭人，唐代诗人。此诗写咏春感慨，为赏春之作。诗中「芳草和烟暖更青，闲门要路一时生」写芳草和烟暖更青，闲门要路一时生；「年年点检人间事，唯有春风不世情」写年年点检人间事，唯有春风不世情。罗邺此诗以咏春感慨、唯有春风不世情写其感慨之情，清隽感慨，是罗邺诗中的名篇。此篇《赏春》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《赏春》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《赏春》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 poem's power lies in a single, perfectly aimed contrast. The first couplet gives us grass — fragrant, warm with mist, ever greener — growing everywhere, in one season covering both idle gates and busy highways: nature's economy distributes beauty without regard for rank. The second couplet supplies the verb of judgment, 'to inspect item by item', a clerk's word for an annual audit of the world, and the verdict: only the spring breeze knows nothing of the ways of the world. The irony is quiet but total — the most impersonal force in the poem outdoes humanity in impartiality. Luo Ye never names the injustice he means; the reader supplies it, which is why the poem feels at once personal and general.

此诗艺术上以「清隽感慨、以草写情」见长。全诗共四句两联，由芳草和烟暖更青而年年点检人间事。起「芳草和烟暖更青，闲门要路一时生」写芳草和烟暖更青：芳草和烟暖更青，闲门要路一时生；结「年年点检人间事，唯有春风不世情」写年年点检人间事：年年点检人间事，唯有春风不世情。全诗以草写情，由芳草和烟暖更青而唯有春风不世情，清隽感慨，是罗邺诗中的名篇。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 ways of the world' (shiqing) — the cold calculus of favor, fashion, and neglect — was a stock moral term with a long history in prose and poetry, and its use here frames the poem as a small ethical essay. Grass and the spring breeze belong to the oldest spring vocabulary of Chinese verse, going back to the Book of Songs, and 'fragrant grass' carried associations of parting, absence, and loyal men overlooked by the world. The phrase 'year after year' echoes the seasonal regrets of the ancient songs, where the recurring year measures unchanging human failure. No single literary anecdote is invoked; instead the poem draws on the whole spring tradition and quietly turns it into a standard of judgment.

诗中「芳草和烟暖更青闲门要路一时生」「年年点检人间事唯有春风不世情」等语，皆含典故故实。「芳草和烟暖更青闲门要路一时生」写芳草和烟暖更青闲门要路一时生；「年年点检人间事唯有春风不世情」用世情之典（世情写世俗人情），写年年点检人间事唯有春风不世情。诗人用世情之典入诗，不着痕迹，而把咏春感慨之情写得真切可感，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

The closing couplet — 'year after year I inspect the affairs of men; only the spring breeze knows nothing of the ways of the world' — has been quoted for centuries as the perfect epigram against worldly coldness. Anthologists and textbook editors have singled it out for its clear, biting freshness, and it is one of the few late-Tang quatrains as widely known as High Tang masterpieces. Critics note the poem's risk: a spring poem that ends in a grudge could easily turn sour or preachy, but Luo Ye keeps the tone light by letting the grass and the breeze speak for him. The piece is now read as the essence of late-Tang lament for the age — small in compass, large in moral clarity.

这首《赏春》，是罗邺写咏春感慨之作，写芳草和烟暖更青、年年点检人间事、唯有春风不世情之情，清隽感慨。起「芳草和烟暖更青，闲门要路一时生」——芳草和烟暖更青，闲门要路一时生。写芳草和烟暖更青：芳草和烟暖更青、闲门要路一时生——暖更青、一时生；结「年年点检人间事，唯有春风不世情」——年年点检人间事，唯有春风不世情。写年年点检人间事：年年点检人间事、唯有春风不世情——人间事、不世情。这「年年点检人间事，唯有春风不世情」，是全诗之结：以唯有春风不世情写其感慨。全诗清隽感慨，以草写情，正是罗邺诗中的名篇。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 (qijue): four lines of seven characters, in the concise regulated short form.诗（七言绝句）
Rhyme The even lines rhyme in the geng group of finals: sheng (to sprout) and qing (the ways of the world, i.e. human feeling), level-tone rhymes that close the poem with a clear, ringing finality.此诗为七言绝句，共四句两联。押韵：「生」「情」押庚部韵。前两句起、后两句转合，平仄相间，正与写咏春感慨的清隽感慨相称，也见其以七绝写感慨的凝练。
Tone pattern Level and oblique tones alternate in the quatrain pattern; the first couplet is fresh and open, the second lengthens into reflection, so the music passes from spring's brightness to the poet's wry judgment.句式上，「芳草和烟暖更青，闲门要路一时生」写芳草和烟暖更青，音节清隽；结「年年点检人间事，唯有春风不世情」写年年点检人间事，音节悠长。全诗音节随情起伏，由清隽而悠长，正合七绝「凝练」之妙，读来如咏春感慨、唯有春风不世情之音，清隽而动人。
Reading note The quatrain's turn at line three carries the whole argument: two lines of spring scene, then the verdict on the world of men. The rhyme sheng–qing lets the word for human feeling ring out against the grass that sprouts — nature's impartial growth set against the world's cold arithmetic.此诗为七言绝句，是罗邺写咏春感慨之作，也是其诗中的名篇。全诗的艺术特色在于「清隽感慨、以草写情」：「芳草和烟暖更青，闲门要路一时生」写芳草和烟暖更青、「年年点检人间事，唯有春风不世情」写年年点检人间事。全诗清隽感慨，以草写情。尤为精妙者，是「芳草和烟暖更青」写尽暖更青；而「唯有春风不世情」用世情之典，正是罗邺诗「清隽感慨」的典范，为历代选本所常收。《赏春》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

芳草和烟暖更青，闲门要路一时生。

Fragrant grass veiled in warm mist turns ever greener; in one season it sprouts alike by idle gates and busy roads.

芳草和烟暖更青，闲门要路一时生。

The fragrant grass, wreathed in mist, grows greener in the warmth; the quiet door and the busy road alike put forth new growth.

起句写芳草和烟暖更青，起笔即见其芳草。「芳草和烟暖更青」写芳草和烟暖更青，「芳草和烟」写芳草和烟、「暖更青」写暖更青；「闲门要路一时生」写闲门要路一时生，「闲门要路」写闲门要路、「一时生」写一时生。一句写芳草和烟暖更青闲门要路一时生，以芳草和烟暖更青写暖更青、以闲门要路一时生写一时生，写尽芳草和烟暖更青、闲门要路一时生之情。以草起兴，清隽而感慨，是「以草起兴」的妙笔。

The opening line writes 'the fragrant grass, wreathed in mist, grows greener in the warmth', the start. 'The fragrant grass, wreathed in mist, grows greener in the warmth' — the grass and mist, the warmth and green; 'the quiet door and the busy road alike put forth new growth' — the quiet door and busy road, the new growth. Rising through the grass, clear and pointed, the start of the spring-appreciation verse.

年年点检人间事，

Year after year I inspect the affairs of the world of men,

年年点检人间事，

Year after year, I take stock of the world's affairs,

此句写年年点检人间事，是全诗写点检之态的关键。「年年点检人间事」写年年点检人间事，「年年」写年年、「点检人间事」写点检人间事。一句写年年点检人间事，以年年写年年、以点检人间事写点检人间事，写尽年年点检人间事之情。以点写情，清隽而感慨，是「以点写情」的点睛之笔。此句以寥寥数语写尽深意，情韵兼胜，正是全诗点睛之笔。其于字句之间暗藏波澜，于平易之中寄寓曲折，尤当反复涵泳，方能得其三昧。

This line writes 'year after year, I take stock of the world's affairs', the key image. 'Year after year' — year after year; 'take stock of the world's affairs' — the reckoning of human affairs. Through the reckoning it writes the feeling, clear and pointed, the point where the spring scene turns to the survey of the world: the green grows alike at the quiet door and the busy road, yet human ways are not so equal.

唯有春风不世情。

And find only the spring breeze untouched by the ways of the world.

唯有春风不世情。

and find only the spring wind free of the world's ways.

结句写唯有春风不世情，是全诗立意的落点。「唯有春风」写唯有春风，「唯有」写唯有、「春风」写春风；「不世情」用世情之典写不世情，「不世情」写不世情。一句写唯有春风不世情，以唯有春风写春风、以不世情写不世情，写尽唯有春风不世情之情。以风写情，清隽而感慨，是全诗最动人处，也是「以风写情」的点睛之笔。

The closing line writes 'and find only the spring wind free of the world's ways', the poem's landing. 'Only the spring wind' — only; 'free of the world's ways' — using the allusion to 'worldly ways', the wind's freedom. Through the wind it writes the feeling, clear and pointed, the poem's most moving point: after a lifetime of the world's snobbery, the poet finds in the spring wind the only thing without worldly calculation.

Study

Word focus

芳草 Fragrant grass: the spring grass wrapped in warm haze — the emblem of life returning impartially to every corner, rich or poor. 「芳草」写芳草和烟暖更青，是写芳草之态的关键。「芳草和烟暖更青」着一「芳草」，写芳草——着一「芳草」，写芳草和烟暖更青，见其草之芳。两字写尽芳草之态，是「以词写草」的妙笔。「芳草」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。
闲门 Idle gates: the doors of poor or forgotten households, where few visitors come — yet grass springs here just as readily as elsewhere. 「闲门」写闲门要路一时生，是写闲门之态的关键。「闲门要路一时生」着一「闲门」，写闲门——着一「闲门」，写闲门要路一时生，见其门之闲。两字写尽闲门之态，是「以词写门」的点睛之词。「闲门」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。
点检 To inspect, to check item by item: the poet's yearly review of human affairs; the bureaucratic word wryly contrasts with the grass's effortless growth. 「点检」写年年点检人间事，是写点检之态的关键。「年年点检人间事」着一「点检」，写点检——着一「点检」，写年年点检人间事，见其检之点。两字写尽点检之态，是「以词写检」的点睛之词。「点检」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。
春风 Spring breeze: nature's impartial agent, ignorant of the ways of the world — the poem's ideal, against which human coldness and calculation are silently judged. 「春风」写唯有春风不世情，是写春风之态的关键。「唯有春风不世情」着一「春风」，写春风——着一「春风」，写唯有春风不世情，见其风之春。两字写尽春风之态，是「以词写风」的点睛之词。「春风」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

水调歌头·明月几时有 Prelude to Water Melody — Thinking of Ziqu on the Mid-Autumn Festival 苏轼 · 同写感慨咏春、清隽旷达，一写人有悲欢离合、一写年年点检人间事唯有春风不世情，皆于感慨之中见清隽 Both review the human condition from nature's impartial standpoint — Su Shi's 'men have sorrow and joy, the moon its dark and clear' beside Luo Ye's 'year after year I inspect the affairs of men'.

Su Shi meets change with philosophical serenity, finding constancy in the moon; Luo Ye meets human coldness with the spring breeze as his only honest witness. Both accept the world's imperfection — Su Shi with cosmic calm, Luo Ye with wry, homespun bitterness.

苏轼《水调歌头·明月几时有》「人有悲欢离合，月有阴晴圆缺，此事古难全」，写感慨咏春、清隽旷达，是宋词长调的名篇；罗邺《赏春》则以「年年点检人间事，唯有春风不世情」「芳草和烟暖更青」写不世情、暖更青。两诗同写感慨咏春、清隽旷达：一写人有悲欢离合、以悲欢写离合，一写年年点检人间事唯有春风不世情、以春风写感慨；一为苏轼之旷达、一为罗邺之清隽，并读正可见诗写「感慨咏春」的两种笔法，皆于感慨之中见清隽。

 八声甘州·对潇潇暮雨洒江天 Eight Tunes of Ganzhou — Against the Drizzling Evening Rain over the River 柳永 · 同写芳草凝望、清隽清丽，一写对潇潇暮雨洒江天、一写芳草和烟暖更青闲门要路一时生，皆于芳草之中见凝望 Both open on spring grass and mist — Liu Yong's faded riverside grass beside Luo Ye's fragrant grass veiled in warm haze.

Grass along a riverbank is the shared starting point, but Liu Yong's withered grass leads into homesick longing for a distant beloved, while Luo Ye's evergreen grass becomes a moral standard — nature's fairness — by which the world of men is judged. Same motif, two destinations: one lyric, one satiric.

柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天，一番洗清秋」，写芳草凝望、清隽清丽，是宋词写羁旅的名篇；罗邺《赏春》则以「芳草和烟暖更青，闲门要路一时生」「年年点检人间事」写一时生、人间事。两诗同写芳草凝望、清隽清丽：一写对潇潇暮雨洒江天、以暮雨写清秋，一写芳草和烟暖更青闲门要路一时生、以芳草写感慨；一为柳永之清丽、一为罗邺之清隽，并读正可见诗写「芳草凝望」的两种笔法，皆于芳草之中见凝望。