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唐 Tang · 诗 Poem

溪居即事

A Scene at My Streamside Home

崔道融

Cui Daorong

篱外谁家不系船，春风吹入钓鱼湾。
小童疑是有村客，急向柴门去却关。

Whose boat is that, untied beyond the fence?
The spring wind blows it into the fishing bay.
The small boy thinks some villager has come,
And hurries to the brushwood gate to undo the latch.
Listen

Meaning

An impromptu poem on a small incident at a streamside home. A boat left untied by someone outside the fence is blown by the spring wind into the fishing bay; the little boy, supposing a village guest has arrived, runs to the brushwood gate and hurries to undo the latch. The whole poem is the record of a moment of rustic innocence — the wind's mischief, the child's eagerness, and the quiet humor of a false alarm.

篱外谁家不系船，春风吹入钓鱼湾。小童疑是有村客，急向柴门去却关。

Appreciation

[Plain Paraphrase] Whose boat, outside the fence, was left unmoored? The spring wind blows it into the fishing bay. The small boy suspects a village guest has come and hurries to the brushwood gate, quickly unbarring it. [Structure and Thought] The four lines form a tiny narrative: the unmoored boat, the wind that drives it in, the child's misreading, and his eager run to the gate. Each line is one beat of the incident. [Key Technique] The poem is built on a comic misprision: the boat is not a guest, but the child's innocent haste makes the empty arrival almost real; the humor is gentle, never mocking. [Emotional Tone] Fresh, bright, and affectionate — the poet records the little scene with the delighted eye of one who loves the simple life of the stream.

【白话串讲】 崔道融写《溪居即事》：“篱外谁家不系船，春风吹入钓鱼湾”——“小童疑是有村客，急向柴门去却关”——他写溪居——小童疑是有村客。 【意象与手法】 “篱外谁家不系船、春风吹入钓鱼湾”写不系船；结以“小童疑是有村客，急向柴门去却关”写小童急开柴门。清新明快。 【情感与主旨】 崔道融写溪居即事之作，写春风吹船入钓鱼湾、小童疑客急开柴门的乡村趣景，是田园诗中的名篇。 【名句点睛】 常考“篱外谁家不系船，春风吹入钓鱼湾”写不系船；“小童疑是有村客，急向柴门去却关”写乡村趣景。

Background

Cui Daorong (c. 880–c. 907), styled himself the Loose Man of Dong'ou, was a late Tang poet from Jingzhou (present-day Jiangling, Hubei). Little of his life is recorded; his surviving verse is notable for its clear, easy descriptions of rural and village life. This poem, one of his best known, belongs to the Tang tradition of small rural genre-scenes — the same family as He Zhizhang's 'Homecoming' and the village vignettes of the late Tang — and is prized for the way it turns a trivial accident into a complete, charming picture.

《溪居即事》为唐代诗人崔道融所作诗。崔道融（约880—约907），自号东瓯散人，荆州（今湖北江陵）人，唐代诗人。此诗写景田园，为咏溪居之作。诗中「篱外谁家不系船，春风吹入钓鱼湾」写篱外谁家不系船，春风吹入钓鱼湾；「小童疑是有村客，急向柴门去却关」写小童疑是有村客，急向柴门去却关。崔道融此诗以写景田园、急向柴门去却关写其田园之情，清新明快，是崔道融诗中的名篇。此篇《溪居即事》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《溪居即事》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 art is the art of the anecdote perfectly told. The opening line plants a mystery in plain sight — 'whose boat, untied beyond the fence?' — and the second line answers with the spring wind, the real actor of the piece, which blows the boat into the bay as casually as a leaf. The third line introduces the child, who supplies a human explanation for a natural accident: 'a village guest has come.' The fourth line completes the picture with the eager rush to the gate and the unlatching — a motion that carries the poem's warmth. The wind is the only agent; the child is the only motion; together they fill a silent rural scene with gentle life.

此诗艺术上以「清新明快、以景写情」见长。全诗共四句，由篱外谁家不系船而春风吹入钓鱼湾而小童疑是有村客。起「篱外谁家不系船，春风吹入钓鱼湾」写篱外谁家不系船：篱外谁家不系船，春风吹入钓鱼湾；「小童疑是有村客，急向柴门去却关」写小童疑是有村客：小童疑是有村客，急向柴门去却关。全诗以景写情，由篱外谁家不系船而急向柴门去却关，清新明快，是崔道融诗中的名篇。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 'fishing bay' and 'brushwood gate' are the stock furniture of Tang rural verse: the fishing bay marks the streamside home as a place of simple livelihood, and the brushwood gate (chaimen) is the humble village door that appears throughout Tang poetry as the sign of a poor but peaceful home. The poem uses no learned allusion; its classical quality lies in the economy with which these common properties are set in motion.

诗中「篱外谁家不系船春风吹入钓鱼湾」「小童疑是有村客急向柴门去却关」等语，皆含典故故实。「篱外谁家不系船春风吹入钓鱼湾」写篱外谁家不系船春风吹入钓鱼湾；「小童疑是有村客急向柴门去却关」写小童疑是有村客急向柴门去却关。诗人以钓鱼湾、柴门等语入诗，不着痕迹，而把写景田园之情写得真切可感，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

This quatrain is one of the most charming rural vignettes of the late Tang, quoted for a thousand years as a perfect example of the 'recorded incident' (jishi) genre. The wind-blown boat and the child's happy mistake make a miniature comedy of rural life, and the poem's lightness has kept it a favorite in anthologies. Critics note how much is done with nothing: no scenery described, no feeling stated, only a boat, a wind, and a boy running to a gate.

这首《溪居即事》，是崔道融写写景田园之作，写篱外谁家不系船、春风吹入钓鱼湾、急向柴门去却关之情，清新明快。起「篱外谁家不系船，春风吹入钓鱼湾」——篱外谁家不系船，春风吹入钓鱼湾。写篱外谁家不系船：篱外谁家不系船、春风吹入钓鱼湾——谁家不系船、吹入钓鱼湾；「小童疑是有村客，急向柴门去却关」——小童疑是有村客，急向柴门去却关。写小童疑是有村客：小童疑是有村客、急向柴门去却关——疑有村客、去却关。这「小童疑是有村客，急向柴门去却关」，是全诗之结：以急向柴门去却关写其田园。全诗清新明快，以景写情，正是崔道融诗中的名篇。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)诗（七言绝句）
Rhyme The poem rhymes on the level-tone words 'chuan' (boat), 'wan' (bay) and 'guan' (latch) in the han-shan rhyme group, in the standard first, second and fourth line pattern.此诗为七言绝句，共四句，两句一联。押平声韵：「船」「湾」「关」押寒删部韵。诗体依绝句而定，句式整齐，音节随情起伏，正与写写景田园的清新明快相称，也见其以绝句写田园的自然。
Tone pattern The first line is a light question; the second is brisk with the wind's motion; the third quickens with the child's suspicion; the fourth runs with his eager haste — the cadence brightens steadily to the unlatching.句式上，「篱外谁家不系船，春风吹入钓鱼湾」写篱外谁家不系船，音节明快；「小童疑是有村客，急向柴门去却关」写小童疑是有村客，音节轻快。全诗音节随情起伏，由明快而轻快，正合绝句「含蓄」之妙，读来如写景田园、急向柴门去却关之音，清新而动人。
Reading note This is a seven-character quatrain by Cui Daorong, a late Tang poet of the small, vivid scene. The first line asks whose untied boat; the second lets the spring wind blow it into the fishing bay; the third and fourth turn to the small boy who mistakes the boat for a visitor and hurries to unbar the gate — the whole village spring is caught in the little commotion.此诗为七言绝句，是崔道融写写景田园之作，也是其诗中的名篇。全诗的艺术特色在于「清新明快、以景写情」：「篱外谁家不系船，春风吹入钓鱼湾」写篱外谁家不系船、「小童疑是有村客，急向柴门去却关」写小童疑是有村客。全诗清新明快，以景写情。尤为精妙者，是「篱外谁家不系船，春风吹入钓鱼湾」写尽溪居之景；而「小童疑是有村客，急向柴门去却关」写尽童趣之真，正是崔道融诗「清新明快」的典范，为历代选本所常收。《溪居即事》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

篱外谁家不系船，春风吹入钓鱼湾。

Whose boat is that, untied beyond the fence? The spring wind blows it into the fishing bay.

篱外谁家不系船，春风吹入钓鱼湾。

Outside the hedge, whose boat is left untied? The spring wind blows it into the fishing cove.

首二句写篱外谁家不系船，起笔即见其景。「篱外谁家不系船」写篱外谁家不系船，「篱外谁家」写篱外谁家、「不系船」写不系船；「春风吹入钓鱼湾」写春风吹入钓鱼湾，「春风」写春风、「吹入钓鱼湾」写吹入钓鱼湾。两句一写篱外谁家不系船、一写春风吹入钓鱼湾，以篱外谁家不系船写谁家不系船、以春风吹入钓鱼湾写吹入钓鱼湾，写尽篱外谁家不系船、春风吹入钓鱼湾之情。以船起兴，清新而明快，是「以船起兴」的妙笔。

The first two lines write whose boat is left untied beyond the hedge, the scenery named at the first stroke. Outside the hedge, whose boat is left untied? a boat carelessly moored at the hedge's edge. The spring wind blows it into the fishing cove: the breeze drifting it into the little bay. One line writes the untied boat beyond the hedge, the other the wind blowing into the cove - Cui Daorong's starting point for the stream lodge: an untied boat, a spring wind. The line opens with the boat as bi-xing, fresh and bright: a boat adrift on the wind, and the village's quiet curiosity about its owner.

小童疑是有村客，急向柴门去却关。

The small boy thinks some villager has come, and hurries to the brushwood gate to undo the latch.

小童疑是有村客，急向柴门去却关。

A little boy guesses a visitor has come to the village; he hurries to the wicket gate and removes the bar.

尾二句写小童疑是有村客，是全诗立意的落点。「小童疑是有村客」写小童疑是有村客，「小童疑是」写小童疑是、「有村客」写有村客；「急向柴门去却关」写急向柴门去却关，「急向柴门」写急向柴门、「去却关」写去却关。两句一写小童疑是有村客、一写急向柴门去却关，以小童疑是有村客写疑有村客、以急向柴门去却关写急去却关，写尽小童疑是有村客、急向柴门去却关之情。以景写情，清新而明快，是全诗最动人处，也是「以景写情」的点睛之笔。

The last two lines write the little boy guessing a visitor has come, the poem's landing. A little boy guesses a visitor has come to the village: the child's eager assumption from the drifting boat. He hurries to the wicket gate and removes the bar: rushing to unbolt the gate. One line writes the child's guess of a visitor, the other the hurried unbarring - the poem's resolution: the child, not the adult, reads the boat's arrival as news, and races to open. The line uses scenery to write feeling, fresh and bright, the poem's most moving point: the whole village's expectant innocence in a child's unbolting hands.

Study

Word focus

不系船 'The untied boat' — the boat left unmoored, the careless freedom of the streamside scene. 「不系船」写篱外谁家不系船，是写不系船之态的关键。「篱外谁家不系船」着一「不系船」，写不系船——着一「不系船」，写篱外谁家不系船，见其船之不系。三字写尽不系船之态，是「以词写船」的妙笔。「不系船」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。
钓鱼湾 'The fishing bay' — the bay of the angler, where the wind blows the stray boat. 「钓鱼湾」写春风吹入钓鱼湾，是写钓鱼湾之态的关键。「春风吹入钓鱼湾」着一「钓鱼湾」，写钓鱼湾——着一「钓鱼湾」，写春风吹入钓鱼湾，见其湾之钓。三字写尽钓鱼湾之态，是「以词写湾」的点睛之词。「钓鱼湾」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。
小童 'The small boy' — the child of the house, the poem's lively center. 「小童」写小童疑是有村客，是写小童之态的关键。「小童疑是有村客」着一「小童」，写小童——着一「小童」，写小童疑是有村客，见其童之小。两字写尽小童之态，是「以词写童」的点睛之词。「小童」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。
柴门 'The brushwood gate' — the humble gate of the streamside home, unlatched in the hurry. 「柴门」写急向柴门去却关，是写柴门之态的关键。「急向柴门去却关」着一「柴门」，写柴门——着一「柴门」，写急向柴门去却关，见其门之柴。两字写尽柴门之态，是「以词写门」的点睛之词。「柴门」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。

Related Reading

浣溪沙·一曲新词酒一杯 Silk-Washing Stream: A New Song and a Cup of Wine 晏殊 · 同写田园写景、清新蕴藉，一写无可奈何花落去、一写篱外谁家不系船春风吹入钓鱼湾，皆于田园之中见清新蕴藉 Both are the small scenes of the spring — Yan Shu's falling flowers and swallows, Cui Daorong's stray boat and hurrying boy.

Yan Shu's 'Silk-Washing Stream' finds the whole spring in a falling flower and a returning swallow; Cui Daorong's 'Scene at My Streamside Home' finds the whole village in an untied boat and a boy hurrying to the gate — the Song and Tang arts of the small scene.

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」，写田园感怀，是宋词小令的名篇；崔道融《溪居即事》则以「篱外谁家不系船，春风吹入钓鱼湾」「小童疑是有村客，急向柴门去却关」写谁家不系船、急向柴门去却关。两诗同写田园写景、清新蕴藉：一写无可奈何花落去、以花落燕归写惜时，一写篱外谁家不系船春风吹入钓鱼湾、以溪居写田园；一为晏殊之温润、一为崔道融之明快，并读正可见诗写「田园写景」的两种笔法，皆于田园之中见清新蕴藉。

 山园小梅 The Small Plum of the Mountain Garden 林逋 · 同写田园清雅、以景寄情，一写疏影横斜水清浅暗香浮动月黄昏、一写篱外谁家不系船春风吹入钓鱼湾，皆于田园之中见清雅 Both are the quiet life of the water and the garden — Lin Bu's plum and moon, Cui Daorong's boat and gate.

Lin Bu's 'Small Plum of the Mountain Garden' is the recluse's self-portrait in the plum; Cui Daorong's poem is the village scene of the same quiet life — the untied boat and the brushwood gate of the streamside home.

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、田园之趣，是宋诗咏物的绝唱；崔道融《溪居即事》则以「篱外谁家不系船，春风吹入钓鱼湾」「小童疑是有村客，急向柴门去却关」写谁家不系船、急向柴门去却关。两诗同写田园清雅、以景寄情：一写疏影横斜水清浅暗香浮动月黄昏、以梅写清雅，一写篱外谁家不系船春风吹入钓鱼湾、以溪居写田园；一为林逋之清逸、一为崔道融之明快，并读正可见诗写「田园清雅」的两种笔法，皆于田园之中见清雅。