唐 Tang · 诗 Poem
山石
Mountain Rocks
山石荦确行径微，黄昏到寺蝙蝠飞。
升堂坐阶新雨足，芭蕉叶大栀子肥。
僧言古壁佛画好，以火来照所见稀。
铺床拂席置羹饭，疏粝亦足饱我饥。
夜深静卧百虫绝，清月出岭光入扉。
天明独去无道路，出入高下穷烟霏。
山红涧碧纷烂漫，时见松枥皆十围。
当流赤足踏涧石，水声激激风吹衣。
人生如此自可乐，岂必局束为人鞿。
嗟哉吾党二三子，安得至老不更归。
at dusk I reach the temple as the bats are flying.
I climb the hall and sit on the steps: the new rain has been full;
the plantain leaves are broad, the gardenia fruits plump.
The monk says the Buddha paintings on the old wall are fine;
he brings a torch to light them—what I see is rare indeed.
He spreads a bed, dusts the mat, sets out soup and rice;
coarse fare is enough to fill my hunger.
Deep in the night I lie still and the hundred insects fall silent;
a clear moon climbs the ridge, its light entering the door.
At daybreak I go off alone with no road to follow,
in and out, up and down, through the whole misty haze.
Mountain reds and valley greens blaze in profusion;
at times I see pines and oaks ten spans around.
Facing the current I set bare feet on the streambed stones;
the water rushes loud, the wind blows out my robe.
A life like this is joy enough in itself—
why be cramped and bridled at another's hand?
Ah, my two or three companions,
how could we grow old and never come back here?
Meaning
The mountain rocks are rugged and the path is narrow; at dusk I reach the temple where the bats fly about. I climb the hall and sit on the steps, the new rain having fallen in plenty; the plantain leaves are broad, the gardenia fruits fat. The monk says the Buddha paintings on the old wall are fine, and when he brings a torch to light them what I see is rare indeed. He spreads a bed, dusts the mat, sets out soup and rice, and the coarse fare is enough to fill my hunger. Deep in the night I lie still and the hundred insects have ceased; a cold clear moon comes over the ridge and its light enters the door. At daybreak I go off alone and cannot tell the road, going in and out, up and down, through all the misty haze. Mountain flowers are red and valley waters green in bright profusion, and at times I see pines and oaks ten spans around. Facing the current I set bare feet on the stones of the stream; the water sounds rush and the clear wind lifts my robe. A life like this is joy enough in itself—why be cramped and bridled like a horse at another's hand? Alas, my two or three friends, how could we grow old and never return to such a world?
山石嶙峋，小路狭窄，黄昏时分到了寺里，蝙蝠四处纷飞。登上厅堂坐在阶上，新雨刚过十分充足；芭蕉叶子宽大，栀子果实肥硕。僧人说古壁上佛画精好，点起火把照看，所见果然稀奇。铺床拂席摆上羹饭，粗茶淡饭也足够充饥。夜深静卧，百虫声绝，清冷的月亮出岭，清光射进门窗。天明独自离去，不辨道路，出入高下，走遍了烟云霏微。山花红艳涧水碧绿，缤纷烂漫；时而见松枥都有十围粗。对着水流赤脚踏上涧石，水声激激，清风吹动衣襟。人生如此自然可乐，何必局促被人羁束如马缰。可叹我辈二三知己，怎能到老都不回归这般天地。
Appreciation
The poem is a record of travel set out in the order of the journey, from arriving at the temple at dusk, through lying still deep in the night, to walking away alone at daybreak. The opening is bold and strange, and 'the mountain rocks are jagged, the footpath narrow, at dusk I reach the temple as the bats are flying' reads like prose carried into verse. The descriptions are antique and lean: broad plantain leaves and plump gardenias are drawn as plainly as a picture, while the monk's spreading a bed, dusting the mat and setting out soup and rice is written in household words. Then the colours open out in 'mountain reds and valley greens blaze in profusion', and the bare feet on the streambed stones with the wind in the poet's robe give a moment of pure freedom. The close speaks straight out: a life like this is joy enough, so why be bridled at another's hand? Statement rounds off the journey, and the whole piece opens the road that Song poets would follow in writing verse with the hand of prose.
【白话串讲】 韩愈游山：山路崎岖，黄昏到寺，蝙蝠乱飞。夜里听百虫叫声，看月亮从山岭升起。第二天一早独自离开，“人生如此自可乐”——他告诉朋友：这样的日子，真快活。 【意象与手法】 此诗典型体现韩愈以文为诗的特色。全篇依游程时间次第铺叙，如一篇纪游散文自然流转，打破律诗起承转合之常格。起笔山石荦确行径微，白描山路荒僻；黄昏到寺蝙蝠飞，以动写静，画面幽峭。写景古朴瘦硬：芭蕉叶大栀子肥取寻常物象，朴拙中见雨后生意；山红涧碧纷烂漫色彩明丽，与前半幽暗之景成对照。叙寺中事亦用家常口语，铺床拂席置羹饭，疏粝亦足饱我饥，于平淡琐细中见僧家情谊与随遇而安之乐。结尾人生如此自可乐，岂必局束为人鞿，由纪游陡转议论，直抒胸臆，以散文句法收束全篇。全诗语言排奡瘦劲，意象真率，气象浑成，开宋诗以文为诗之先声，是韩愈雄奇恣肆诗风的代表作。 【情感与主旨】 本诗约作于唐德宗贞元十七年（801），韩愈时客洛阳，曾游城北惠林寺，归而作此纪游。时韩愈求仕蹭蹬，未得显达，胸怀郁郁，故于山水寺游之间寻求解脱。诗中由黄昏到寺、夜深静卧、天明独去一路写来，于荒山古寺中发现自然之美与生活之趣：新雨芭蕉、古壁佛画、疏粝羹饭、清月入扉，处处可乐；山红涧碧、松枥十围、赤足踏石、水声风衣，更见物我两忘之乐。结尾直揭主旨：人生如此自可乐，岂必局束为人鞿，以马缰喻官场束缚，表达对仕途羁束的厌弃与对山水自由的向往；嗟哉吾党二三子，安得至老不更归，更以呼告口吻邀同游知己共归山林，将对自由的向往升华为终身之愿。全诗景中含情、情中有志，是韩愈早期人生观的形象写照。 【名句点睛】 本诗为高考古诗鉴赏高频篇目，考点集中。一、章法：全诗按时间顺序纪游，以黄昏、夜深、天明为线索，层次清晰，如日记般逐程写来，须把握其时间推进与景物转换。二、手法：以文为诗、以议论入诗，白描、对比、借景抒情并用，山红涧碧与荒山古寺形成色彩与气氛的对照。三、主旨：人生如此自可乐，岂必局束为人鞿直抒对官场束缚的厌弃与对山林自由的向往，是全诗之眼，答题须扣住乐与鞿的对立。四、语言：荦确、肥等字炼得朴拙生新，芭蕉叶大栀子肥一句以寻常字面写出丰沛生命力，最见韩愈好奇尚险的审美趣味。备考宜将此诗与韩愈以文为诗的其他作品对照，理解其破体创新的意义。
Background
The poem was written about 801, the seventeenth year of the Zhenyuan era under Emperor Dezong, when Han Yu was staying at Luoyang and visited the Huilin Temple north of the city, writing this record of the excursion on his return. It takes the opening words 'mountain rocks' for its title after the old manner of the Book of Songs, and follows the whole outing in order of time: arriving at the temple at dusk, lying still deep in the night, going off alone in the clear morning, until the day's pleasure is spent. The poet was then struggling for office without success, and among hills and streams he tasted the joy of being free; the piece embodies his artistic aim of writing poetry with the hand of prose, vigorous and antique.
本诗约作于唐德宗贞元十七年（801），韩愈时年三十余岁，客居洛阳，曾游城北惠林寺，归而作此纪游。据《韩集举正》及后人笺注，诗中新雨初霁、蕉肥栀硕的景物，正合洛阳初夏光景；黄昏到寺、天明独去，则纪实写来，历历如画。韩愈自贞元八年（792）登进士第后，屡试博学宏词不第，仕途蹭蹬，此后辗转于宣武、武宁军幕，寄人篱下，郁郁不得志。此诗正作于其求仕未达、胸怀郁结之际，故于荒山古寺的山水之游中，特别敏于体味自在之乐。诗以首句山石为题，仿《诗经》取篇首二字命题的旧法；全篇按游程时间顺序写来，自黄昏到寺、夜深静卧、清晨独去，至日暮兴尽，如一篇完整的日记体游记。诗人此时正当壮年，兼有儒者济世之志与诗人纵情山水之怀，二重情怀交织，遂于纪游之中注入对人生出处的深沉思考。此诗既是韩愈山水纪游诗的代表，也是其古文运动精神向诗歌领域的延伸，奠定全诗雄健古朴、以文为诗的艺术基调。
Art
The poem is the very type of Han Yu's practice of writing verse with the hand of prose. It unfolds in order of time and moves as naturally as a travel essay, breaking the fixed turns of regulated verse. The scene-painting is antique and hard-boned: 'the mountain rocks are jagged' and 'the plantain leaves are broad, the gardenia fruits plump' are plain drawing that stands like a picture; 'he spreads a bed, dusts the mat, sets out soup and rice' renders the monk's kindness in household speech; 'mountain reds and valley greens blaze in profusion' is bright with colour. The ending, 'a life like this is joy enough in itself', speaks straight from the heart and closes the poem with argument. The language is craggy, lean and strong, the atmosphere whole and complete, and here the Song habit of prose in poetry has its first voice.
此诗是韩愈以文为诗最典型的代表作，艺术上的核心特色是以散文的章法、句法与议论入诗，打破盛唐律诗的圆熟格套。全篇依游程时间次第铺叙，如一篇纪游散文：黄昏到寺，蝙蝠飞鸣；升堂坐阶，新雨初霁；夜深静卧，百虫声绝；天明独去，穷尽烟霏，线索清晰，转接自然，全无律诗起承转合之痕。写景古朴瘦硬，多用白描：山石荦确行径微以四字形容山石嶙峋，朴拙如画；芭蕉叶大栀子肥不事雕饰，以寻常字面写雨后风物之盛；山红涧碧纷烂漫色彩明丽，与前半的幽峭形成明暗对照。叙写人事亦用家常口语，铺床拂席置羹饭，疏粝亦足饱我饥，将粗茶淡饭写得亲切有味，见僧家之情与作者之自适。修辞上善用动词与声响：当流赤足踏涧石，水声激激风吹衣，以激激拟水声，赤足踏石之姿矫健豪迈，风吹衣之句尤见潇洒。结尾人生如此自可乐，岂必局束为人鞿，由叙事写景陡转议论，直抒胸臆，以文气收束诗篇。全诗语言排奡瘦劲，意象真率奇崛，气象浑成，开宋诗以文为诗、以议论为诗之先声，为韩孟诗派奇险一派的奠基之作。
Allusions
The poem transforms images and elegant diction from the Songs of Chu and other classics. The word rendered 'jagged' comes from the Zhuangzi, describing rocks rugged and hard; plantain and gardenia are southern growths, and the gardenia in the Songs of Chu often figures purity; the word for a horse's bridle comes from the Li Sao, where the poet says that his love of adornment brought him bridle and halter, so that 'cramped and bridled at another's hand' means bound by the world; and 'my two or three companions' takes its phrasing from the Analects. All these enter the record of travel without strain, elegant yet never crabbed, and show the depth of learning steeped in Han Yu's verse.
此诗虽为纪游，却于平易白描中暗藏经籍之典，见韩愈以文为诗、蘸经术为诗的深厚学养。其一，山石荦确之荦确二字，本以形容山石大而多、嶙峋突兀之貌，与《庄子》所言荦荦确确的粗砺质感相通，诗人取以起笔，既写实景，亦寓其好奇尚险、不避生新的审美倾向。其二，芭蕉与栀子皆南方风物，诗人于洛阳寺中见之，点出雨后新绿肥硕之态；栀子本为香花，兼有《楚辞》以香草喻高洁的传统余韵，寄寓对清雅品格的自我期许。其三，结尾岂必局束为人鞿之鞿字，本指马缰绳，语出《离骚》余虽好修姱以鞿羁兮之句，屈原因鞿羁而困于楚廷，韩愈借此自况，以马之受缚喻士之受制于官场，将一己之厌弃仕途升华为对自由的普遍呼唤。其四，嗟哉吾党二三子之吾党，用《论语》吾党之小子狂简之语，称同游二三知己为同志，语带经书之气而亲切自然。诸典皆融化于纪游之中，雅而不涩，深而不僻，正见韩愈以古文家笔墨作诗，于唐音之外别辟蹊径的创造精神。
Commentary
Su Shi greatly admired Han Yu's poetry and said that the man's lofty bearing showed itself in his verse. Fang Dongshu remarked that this piece 'is nothing but a travel record, yet it is bold and unrestrained, and its force is vigorous'. The Qing critic Ye Xie called it 'a new departure in seven-character verse'. Bringing the methods of classical prose into poetry, it opens a fresh path within the Tang voice, and has always been taken as the representative work of the Han Yu and Meng Jiao school in the practice of writing poetry as prose.
此诗自问世以来，论者评价极高，被视为韩愈以文为诗、奇纵恣肆风格的代表作。苏轼极推韩诗，尝谓韩子苍然之姿，发于诗者亦然，即赞其诗骨力苍劲、气象雄浑；又于《读韩诗》中许其诗如大海回澜，浩瀚无涯。清代桐城派方东树《昭昧詹言》评此诗只是一篇游记，而奇纵恣肆，气势雄健，正指出其以游记散文的章法入诗而别开生面；又谓其无起无收，如天马行空，最见韩愈雄奇的本色。清人叶燮《原诗》更称其于七言诗中创变格，打破盛唐七古圆熟流丽的正格，为宋诗散文化、议论化导夫先路。此诗在文学史上的意义，不止于一篇优秀的纪游诗，更在于它以古文之法入诗，与《石鼓歌》《调张籍》等共同确立了韩愈奇险雄健的诗风，并直接启发了苏轼、黄庭坚以文为诗、以议论为诗的宋调。后世选本如《唐诗别裁》《唐宋诗醇》皆录此篇，今人论韩孟诗派以文为诗，亦必以此诗为首要例证，其经典地位历久不衰。
Prosody
Line by line
山石荦确行径微，黄昏到寺蝙蝠飞。
The stones are craggy, the path a thread; at dusk I reach the temple, bats flying.
山石嶙峋，山路狭窄；黄昏时分到达寺中，蝙蝠四处纷飞。
The mountain stones are jagged, the road narrow; at dusk I reach the temple, and bats fly about.
起笔两句为全诗定下古朴奇崛的基调。山石荦确行径微，以荦确二字形容山石大而多、嶙峋突兀之貌，行径微写山路狭窄难行，开篇不写寺之美而先写路之艰，正是韩愈好奇尚险、避熟就生的笔法。黄昏到寺蝙蝠飞，点明游程时间，黄昏时分蝙蝠绕寺纷飞，画面幽峭而富生趣，以动景写荒寺之静。两句纯用白描，无一句渲染夸饰，却已将山路之荒僻、古寺之幽深、游人之风尘尽收笔底。其句法尤可注意：以散文句法入诗，山石荦确行径微一句名词铺陈如游记散文，全无律诗对仗之工，正是以文为诗之格的典型体现。韩愈不写寺之金碧而写石之荦确、蝠之飞鸣，已暗寓其于寻常荒僻处觅奇趣的审美取向，为全篇处处可乐的主旨先作铺垫。
The opening two lines tune the whole in a plain, rugged key. 'The stones are craggy, the path a thread' — the word 'craggy' describes the stones, large and many, jagged and abrupt; 'the path a thread' the narrow road, hard to walk; the opening writes not the temple's beauty but the road's hardship, precisely Han Yu's craft of loving the strange and shunning the familiar. 'At dusk I reach the temple, bats flying' names the hour of the tour, the dusk and the bats wheeling about the temple, the picture darkly steep and alive, writing the wild temple's stillness through motion. Two lines pure plain writing, not one word of adornment, yet the road's remoteness, the old temple's depth, the traveler's dust all gathered in the brush. The syntax the more to note: prose syntax brought into poetry, 'the stones are craggy, the path a thread' the noun-laying like a travel prose, no regulated couplet's craft, the typical form of 'poetry through prose'. Han Yu writes not the temple's gold but the stones' jaggedness, the bats' flight, secretly holding his aesthetic of seeking the strange in the ordinary and remote, the groundwork for the whole's 'everywhere joyous' theme.
夜深静卧百虫绝，清月出岭光入扉。
Deep night, lying still, all insects stilled; the clear moon rises beyond the ridge, its light entering the door.
夜深了静静躺卧，百虫的鸣声都已停歇；清冷的月亮从山岭后升起，清光射入门扉。
The night deepens as I lie still, and the insects' sounds have ceased; the cold moon rises beyond the ridge, its clear light entering the door.
此联写夜宿山寺之景，是全诗由动入静、由外入内的转折。夜深静卧百虫绝，先以百虫绝写万籁俱寂：虫声本细微，绝而可感，愈见夜之深、境之静；一个绝字，将白日蝙蝠飞鸣、入夜虫声四起的喧闹彻底收束，天地归于沉静。清月出岭光入扉，清冷的月亮自山岭之背升起，清光如水泻入门扉，以光写静，静中透出澄明。两句纯以白描出之，无一字言情，而诗人的心境自在其中：静卧古寺，身无羁绊，唯有月色与己为伴，一种脱离尘俗、物我两忘的安宁油然而生。此景此情，正是前文疏粝饱饥之自适的延续与深化，也是后文人生如此自可乐之议论的情感根基。韩愈以极省净的笔墨写出极幽深的意境，其写夜之静不用万籁俱寂之类熟语，而由百虫绝三字自家体味出来，最见白描之工与取境之深。
This couplet writes the night in the mountain temple, the turn of the poem from motion to stillness, from without to within. 'Deep night, lying still, all insects stilled' — first writing the universal silence through 'all insects stilled': the insect sounds faint of themselves, their ceasing the more felt, the night the deeper, the stillness the profounder; the one word 'stilled' gathers up the day's bats and the evening's insects into quiet, heaven and earth returning to stillness. 'The clear moon rises beyond the ridge, its light entering the door' — the cold moon rising from the ridge's back, the clear light pouring like water into the door, writing stillness through light, the stillness shot through with clarity. Two lines plain writing, not one word of feeling, and the poet's mood of itself: lying still in the old temple, no bond on the body, only the moon for company, a peace apart from the dust, forgetting self and world, rising of itself. This scene and mood is the continuation and deepening of the earlier ease of the coarse meal, and the emotional ground of the later argument that 'life like this is joy enough'. Han Yu, in the most economical brush, writes the deepest mood; writing the night's stillness not through the cliche of universal silence but through 'all insects stilled' smelled out by himself, showing the plain writing's craft and the depth of the chosen realm.
当流赤足踏涧石，水声激激风吹衣。
Facing the stream, barefoot I tread the stones; water's rush, wind blowing my robe.
对着湍流赤脚踩踏涧中的石头，水声激激作响，清风吹动衣襟。
Facing the racing current, I tread the streambed stones barefoot; the water rushes, the wind blows my robe.
此联写天明独去途中涉水之乐，是全诗最为矫健豪迈的一笔。当流赤足踏涧石，诗人于山涧湍流之中赤足踏石而行，赤足二字脱略形迹，毫无文人拘谨之态，见其放浪山水、天真自在的一面；当流踏石，不避湍急，更写出一种不畏艰险、勇往直前的意气。水声激激风吹衣，以激激拟水石相激之声，清脆可闻；风吹衣以清风吹动衣襟写涉水而过的飒爽，衣袂飘举，神采飞扬。两句视听结合，动感十足：赤足踏石是触觉与动作，水声激激是听觉，风吹衣是视觉与触觉，三觉并写，将山水之乐写得声情并茂、淋漓酣畅。此联正是前文山红涧碧纷烂漫之热烈景色的自然延伸，由看山到涉水，诗人与山水的关系由旁观者变成参与者，物我相忘之乐达于顶点，为结尾人生如此自可乐的议论提供了最有力的感性证明。
This couplet writes the joy of wading the stream on the morning's solitary departure, the most vigorous and free stroke of the poem. 'Facing the stream, barefoot I tread the stones' — the poet, in the mountain torrent, treads the stones barefoot; the word 'barefoot' casts off all formality, no scholar's stiffness, showing his release in the hills and streams, his childlike ease; facing the current and treading the stones, not shunning the racing water, the spirit of fearlessness and forward drive. 'Water's rush, wind blowing my robe' — 'rush' imitates the sound of water striking stones, crisp and audible; 'wind blowing my robe' the free, bold air of crossing the stream in the clear wind, the robe's sleeves lifted, the spirit flying. Two lines, sight and sound joined, the motion full: barefoot on stones the touch and action, water's rush the hearing, wind on the robe the sight and touch, three senses together, the joy of hills and streams written with all its sound and color, to the full. This couplet is the natural extension of the earlier vivid, riotous mountain-red and stream-green; from watching the hills to wading the stream, the poet's relation to the landscape turns from onlooker to participant, the joy of self-forgetting reaching its peak, providing the most forceful, felt proof for the closing argument of 'life like this is joy enough'.
人生如此自可乐，岂必局束为人鞿。
Life like this is joy enough; why be cramped and bound, led by the halter of men?
人生能像这样自由自在自然可乐，何必局促束缚，被人当作马缰羁勒。
Life, could it be thus, is joy enough; why be cramped and bound, led like a horse by the halter of men?
此两句是全诗主旨之所在，由纪游写景陡转议论，直抒胸臆，为全篇点睛。人生如此自可乐，以如此二字总束前文：山路之奇、蝙蝠之飞、芭蕉之肥、佛画之稀、疏粝之饱、月色之清、涧石之踏，凡所历所感，皆可乐之事；诗人以山水之乐与世俗之乐对举，认定人生本当如此自在。岂必局束为人鞿，以反问句法收束，鞿字用《离骚》余虽好修姱以鞿羁兮之典，以马受缰绳羁勒喻士受官场束缚，反问语气斩截有力，将一己之厌弃仕途升华为对自由的普遍呼唤。两句一正一反，乐与鞿对立，直截了当，全无含蓄吞吐之态，正是韩愈以议论为诗、以文为诗的典型笔法。此联在章法上承前启后：前八句写尽山水之乐，至此豁然点题；后两句嗟哉吾党二三子更以呼告邀友同归，使自由之愿由一时之乐升华为终身之志。
These two lines are the theme of the whole, turning from travel record and scene to argument, speaking from the breast, the eye of the poem. 'Life like this is joy enough' — the word 'like this' gathers all above: the strange mountain road, the flying bats, the broad plantains, the rare Buddhist paintings, the coarse meal, the clear moonlight, the trod streambed stones, all experienced and felt, all things of joy; the poet sets the joy of hills and streams against the joy of the world, judging that life should be thus free. 'Why be cramped and bound, led by the halter of men?' closes in counter-question; the word 'halter' uses the allusion from Li Sao, 'though I love adornment, I am led by the halter', using the horse led by the rein to figure the scholar bound by office, the counter-question decisive, raising his own loathing of the official road to a universal call for freedom. Two lines, one positive one negative, joy against bondage, direct and plain, no restraint, the typical brush of Han Yu's 'poetry through argument, poetry through prose'. This couplet, in structure, carries the above and leads the below: the first eight lines write the joy of hills and streams to the full, and here the theme opens; the later 'alas for our two or three companions' further calls the friends to return together, raising the will for freedom from a moment's joy to a lifelong resolve.
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Wang's poem is airy and distant, Han's vigorous, lean and written with the hand of prose; the two aesthetic directions of Tang landscape poetry may be compared.
王维《终南山》与韩愈《山石》同写山中之景，而审美取向迥异，恰成对照。王诗太乙近天都，连山接海隅，以俯瞰之笔写终南之高峻广大；分野中峰变，阴晴众壑殊，写山势之雄浑与气象之变幻；白云回望合，青霭入看无，以空灵之笔写云雾之有无，意境空明澄澈，归于禅意。韩诗则山石荦确行径微，以散句白描写山路之荒僻；当流赤足踏涧石，以涉水之乐写物我相忘，笔力雄健瘦硬，归于议论。同是写山，王维取山之空灵神韵，如画中之写意；韩愈取山之真率质实，如文中之纪游。二诗并读，正可见盛唐山水诗空灵淡远与中唐山水诗奇崛质实两种审美取向的分野，亦可比较诗与禅、诗与文的结合方式之异。
山房春事·其一 Spring at a Mountain House (I) 岑参 · 同（皆纪游写景） Same (both record an excursion and paint what is seen)Cen writes the scattered quiet of spring at a mountain house, Han the strange freedom of a temple visit; both break the moulds of regulated verse, so their methods of travel poetry may be compared.
岑参《山房春事·其一》与韩愈《山石》皆以纪游写景为体，而气象不同，可资比较。岑诗风恬日暖荡春光，戏蝶游蜂乱入房，以恬暖春光、戏蝶游蜂写山房之春意盎然；数枝门柳低衣桁，一片山花落笔床，以门柳山花点缀庭院之幽静，笔致轻快流丽，是盛唐风调。韩诗则以黄昏到寺、夜深静卧、天明独去的时间次序纪游，写荒山古寺之幽峭与涉水之豪迈，笔力排奡雄健，是典型的韩愈体格。同是纪游写景，岑诗多写静态的春日庭院，取境清新明丽；韩诗多写动态的游程经历，取境奇崛苍劲。二诗皆不以律体格套自限，岑参七绝以自然流走见长，韩愈七古以散文句法取胜，合观可见盛唐至中唐纪游诗由清丽向雄奇演进的轨迹，也可比较七绝与七古两种体裁在纪游写景上的不同笔法。