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唐 Tang · 诗 Poem

移家别湖上亭

Moving the House, Parting from the Pavilion on the Lake

戎昱

Rong Yu

好是春风湖上亭，柳条藤蔓系离情。
黄莺久住浑相识，欲别频啼四五声。

How good is the pavilion on the lake in the spring wind —
The willow twigs and the vines tie the feeling of the parting.
The yellow oriole, long dwelling here, seems to know me wholly —
At the parting, it cries again and again, four or five times.
Listen

Meaning

A poem of the parting from the familiar place, written by Rong Yu. How good is the pavilion on the lake in the spring wind — the willow twigs and the vines tie the feeling of the parting — the good place of the spring, the twigs and the vines tying the feeling. The yellow oriole, long dwelling here, seems to know him wholly — at the parting, it cries again and again, four or five times — the oriole of the familiar place, crying at the parting. The poem is the parting from the place: the spring wind, the tying twigs, and the oriole that knows him, crying at the leaving.

好是春风湖上亭，柳条藤蔓系离情。黄莺久住浑相识，欲别频啼四五声。

Appreciation

[Plain Paraphrase] How good is the pavilion on the lake in the spring wind — the willow twigs and the vines tie the feeling of the parting. The yellow oriole, long dwelling here, seems to know me wholly — at the parting, it cries again and again, four or five times. [Structure and Thought] The poem moves from the good place of the spring wind, through the twigs and the vines tying the feeling of the parting, to the oriole that knows him and cries at the parting — the feeling of the place gathered in the bird. [Key Technique] The poem's art is the feeling lent to the place: the twigs and the vines tie the parting — the natural tying of the feeling — and the oriole, long dwelling, seems to know him and cries — the bird of the place grieving at the leaving, the feeling of the parting gathered in the close. [Emotional Tone] Warm, sad, and affectionate: the poem is the parting from the familiar place, the spring wind and the tying twigs, and the crying oriole.

【白话串讲】 戎昱写《移家别湖上亭》：“好是春风湖上亭，柳条藤蔓系离情”——“黄莺久住浑相识，欲别频啼四五声”——他移家别湖上亭——欲别频啼四五声。 【意象与手法】 “好是春风湖上亭、柳条藤蔓系离情”写柳条系离情；“黄莺久住浑相识”写黄莺相识；结以“欲别频啼四五声”以黄莺频啼写别情。含蓄深婉。 【情感与主旨】 戎昱写移家别湖上亭之作，写柳条系离情、黄莺频啼四五声的依依别情，是写离别诗中的名篇。 【名句点睛】 常考“好是春风湖上亭，柳条藤蔓系离情”写柳条系离情；“黄莺久住浑相识，欲别频啼四五声”以黄莺频啼写别情。

Background

Rong Yu, the poet of the mid-Tang, wrote this poem at the moving of his house from the pavilion on the lake — the parting from the familiar place. The poem's art is the feeling lent to the place: the willow twigs and the vines tie the feeling of the parting — the natural tying; and the yellow oriole, long dwelling at the pavilion, seems to know him wholly — at the parting, it cries again and again — the bird of the familiar place grieving at the leaving. The poem is the model of the parting from the place, the affection gathered in the close's crying bird.

《移家别湖上亭》为唐代诗人戎昱所作诗。戎昱（约740—约800），荆南（今湖北江陵）人，唐代诗人。此诗写离别写景，为移家别湖上亭之作。诗中「好是春风湖上亭，柳条藤蔓系离情」写好是春风湖上亭，柳条藤蔓系离情；「黄莺久住浑相识，欲别频啼四五声」写黄莺久住浑相识，欲别频啼四五声。戎昱此诗以离别写景、欲别频啼四五声写其离别之情，含蓄深婉，是戎昱诗中的名篇。此篇《移家别湖上亭》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《移家别湖上亭》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 feeling lent to the place. The good place opens: how good is the pavilion on the lake in the spring wind — the good of the familiar place, the spring wind. The tying follows: the willow twigs and the vines tie the feeling of the parting — the natural tying, the twigs and the vines holding the feeling. And the close gathers the affection in the bird: the yellow oriole, long dwelling here, seems to know him wholly — at the parting, it cries again and again, four or five times — the oriole of the place, the knowledge of the long dwelling, and the crying at the leaving. The spring wind, the tying twigs, and the crying oriole — the feeling of the parting gathered in the close, the affection of the familiar place.

此诗艺术上以「含蓄深婉、以物写情」见长。全诗共四句，由好是春风湖上亭而黄莺久住浑相识。起「好是春风湖上亭，柳条藤蔓系离情」写好是春风湖上亭：好是春风湖上亭，柳条藤蔓系离情；结「黄莺久住浑相识，欲别频啼四五声」写黄莺久住浑相识：黄莺久住浑相识，欲别频啼四五声。全诗以物写情，由好是春风湖上亭而欲别频啼四五声，含蓄深婉，是戎昱诗中的名篇。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 poem carries no learned allusion; its art is the plain affection. 'The pavilion on the lake' (hushang ting) is the pavilion of the familiar place; 'the willow twigs and the vines' (liutiao tengman) are the twigs and the vines that tie the feeling of the parting — the natural tying; 'the yellow oriole' (huangying) is the bird of the place, long dwelling, seeming to know the poet wholly — the bird that cries at the parting.

诗中「好是春风湖上亭柳条藤蔓系离情」「黄莺久住浑相识欲别频啼四五声」等语，皆含典故故实。「好是春风湖上亭柳条藤蔓系离情」写柳条藤蔓系离情（柳为折柳送别之物）；「黄莺久住浑相识欲别频啼四五声」写黄莺久住浑相识欲别频啼四五声。诗人以柳条、黄莺等语入诗，不着痕迹，而把离别写景之情写得真切可感，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 poem is one of the model poems of the parting from the place, quoted for the warmth of its close. The twigs and the vines tying the feeling, and the oriole crying at the parting, are among the admired passages of the poems of the parting. Critics praise the poem's affection: the familiar place grieving with the poet, and the oriole's cries at the leaving.

这首《移家别湖上亭》，是戎昱写离别写景之作，写好是春风湖上亭、柳条藤蔓系离情、黄莺久住浑相识、欲别频啼四五声之情，含蓄深婉。起「好是春风湖上亭，柳条藤蔓系离情」——好是春风湖上亭，柳条藤蔓系离情。写好是春风湖上亭：好是春风湖上亭、柳条藤蔓系离情——湖上亭、系离情；结「黄莺久住浑相识，欲别频啼四五声」——黄莺久住浑相识，欲别频啼四五声。写黄莺久住浑相识：黄莺久住浑相识、欲别频啼四五声——久住浑相识、频啼四五声。这「黄莺久住浑相识，欲别频啼四五声」，是全诗之结：以欲别频啼四五声写其离别。全诗含蓄深婉，以物写情，正是戎昱诗中的名篇。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 Heptasyllabic quatrain (qiyan jueju)诗（七言绝句）
Rhyme The poem rhymes on the level-tone qing, qing and sheng of the group — the even, level rhyme that carries the warm parting.此诗为七言绝句，共四句。押韵：「情」「声」押庚青部韵。诗体依绝句而定，句式整齐，音节短促而清亮，正与写离别写景的含蓄深婉相称，也见其以绝句写离别的凝练。
Tone pattern The cadence is that of the warm parting: the level opening with the good place, the turning with the tying twigs, and the close's fall with the cries of the oriole.句式上，「好是春风湖上亭，柳条藤蔓系离情」写好是春风湖上亭，音节明快；结「黄莺久住浑相识，欲别频啼四五声」写黄莺久住浑相识，音节低回。全诗音节由明快而低回，正合绝句「凝练」之妙，读来如离别写景、欲别频啼四五声之音，含蓄而动人。
Reading note The poem's sound matches its affection: the level rhymes carry the even cadence of the parting, and the close — 'huangying jiuzhu hun xiangshi, yu bie pin ti si wu sheng' — falls with the four or five cries, the sound of the bird grieving at the leaving.此诗为七言绝句，是戎昱写离别写景之作，也是其诗中的名篇。全诗的艺术特色在于「含蓄深婉、以物写情」：「好是春风湖上亭，柳条藤蔓系离情」写好是春风湖上亭、「黄莺久住浑相识，欲别频啼四五声」写黄莺久住浑相识。全诗含蓄深婉，以物写情。尤为精妙者，是「好是春风湖上亭，柳条藤蔓系离情」写柳条系情；而「黄莺久住浑相识，欲别频啼四五声」写莺亦惜别，正是戎昱诗「含蓄深婉」的典范，为历代选本所常收。《移家别湖上亭》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

好是春风湖上亭，柳条藤蔓系离情。

How good is the pavilion on the lake in the spring wind — the willow twigs and the vines tie the feeling of the parting.

好是春风湖上亭，柳条藤蔓系离情。

Lovely is the lake pavilion in the spring breeze; willow branches and vine tendrils tie my parting feeling.

首句写好是春风湖上亭，起笔即见其亭。「好是春风湖上亭」写好是春风湖上亭，「好是」写好是、「春风湖上亭」写春风湖上亭；「柳条藤蔓系离情」写柳条藤蔓系离情，「柳条藤蔓」写柳条藤蔓、「系离情」写系离情。两句一写好是春风湖上亭、一写柳条藤蔓系离情，以好是春风湖上亭写湖上亭、以柳条藤蔓系离情写系离情，写尽好是春风湖上亭、柳条藤蔓系离情之情。以亭起兴，含蓄而深婉，是「以亭起兴」的妙笔。

The first line writes lovely is the lake pavilion in the spring breeze, the pavilion named at the first stroke. Lovely is: the fond epithet. The lake pavilion in the spring breeze: the pavilion by the lake in the breeze. Willow branches and vine tendrils tie my parting feeling: the branches, the tendrils, the tied grief. One couplet writes the pavilion in the spring breeze and the branches tying parting - Rong Yu's starting point for moving away from the lake pavilion: the pavilion itself seems to hold him back. The line opens with the pavilion as bi-xing, reserved and deep: the lake pavilion he loved refuses to let him go.

黄莺久住浑相识，欲别频啼四五声。

The yellow oriole, long dwelling here, seems to know me wholly — at the parting, it cries again and again, four or five times.

黄莺久住浑相识，欲别频啼四五声。

The orioles, long resident, know me well; as I leave, they cry again and again, four or five notes.

结句写黄莺久住浑相识，是全诗立意的落点。「黄莺久住浑相识」写黄莺久住浑相识，「黄莺久住」写黄莺久住、「浑相识」写浑相识；「欲别频啼四五声」写欲别频啼四五声，「欲别频啼」写欲别频啼、「四五声」写四五声。两句一写黄莺久住浑相识、一写欲别频啼四五声，以黄莺久住浑相识写久住相识、以欲别频啼四五声写频啼数声，写尽黄莺久住浑相识、欲别频啼四五声之情。以啼写情，含蓄而深婉，是全诗最动人处，也是「以啼写情」的点睛之笔。

The closing couplet writes the orioles, long resident, know me well, the poem's landing. The orioles, long resident: the birds so long there. Know me well: they recognize him. As I leave, they cry again and again, four or five notes: the repeated cries. One couplet writes the orioles' long acquaintance and their parting cries - Rong Yu's resolution: the very birds know him, and at his departure they call out again and again. The line uses the birds' cry for feeling, reserved and deep, the poem's most moving point: nature itself grieves his leaving.

Study

Word focus

湖上亭 'The pavilion on the lake' — the pavilion of the familiar place, the good place of the spring wind. 「湖上亭」写好是春风湖上亭，是写湖上亭之态的关键。「好是春风湖上亭」着一「湖上亭」，写湖上亭——着一「湖上亭」，写好是春风湖上亭，见其亭之湖上。三字写尽湖上亭之态，是「以词写亭」的妙笔。「湖上亭」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。
离情 'The feeling of the parting' — the feeling tied by the twigs and the vines, the parting's feeling. 「离情」写柳条藤蔓系离情，是写离情之态的关键。「柳条藤蔓系离情」着一「离情」，写离情——着一「离情」，写柳条藤蔓系离情，见其情之离。两字写尽离情之态，是「以词写情」的点睛之词。「离情」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。
黄莺 'The yellow oriole' — the bird of the place, long dwelling, crying at the leaving. 「黄莺」写黄莺久住浑相识，是写黄莺之态的关键。「黄莺久住浑相识」着一「黄莺」，写黄莺——着一「黄莺」，写黄莺久住浑相识，见其莺之黄。两字写尽黄莺之态，是「以词写莺」的点睛之词。「黄莺」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。
频啼 'Cries again and again' — the repeated cries of the parting, the grief of the leaving. 「频啼」写欲别频啼四五声，是写频啼之态的关键。「欲别频啼四五声」着一「频啼」，写频啼——着一「频啼」，写欲别频啼四五声，见其啼之频。两字写尽频啼之态，是「以词写啼」的点睛之词。「频啼」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 晏殊 · 同写离别感怀、无可奈何，一写无可奈何花落去、一写柳条藤蔓系离情，皆于离别之中见感怀 Both are the poems of the parting and the familiar scene — Rong Yu's oriole of the lake, Yan Shu's last flowers of the dusk — the two partings of the feeling.

Rong Yu's poem parts from the pavilion — the twigs tying the feeling, the oriole crying; Yan Shu's 'Silk-Washing Stream' — 'helplessly the flowers fall, as if known the swallows return' — is the parting of the spring — the same feeling of the parting, the one of the place, the other of the time.

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」，写离别感怀、无可奈何，是宋词小令的名篇；戎昱《移家别湖上亭》则以「好是春风湖上亭，柳条藤蔓系离情」「欲别频啼四五声」写柳条系离情、频啼四五声。两诗同写离别感怀、无可奈何：一写无可奈何花落去、以花落燕归写惜时，一写柳条藤蔓系离情、以莺啼写惜别；一为晏殊之温润、一为戎昱之含蓄，并读正可见诗写「离别感怀」的两种笔法，皆于离别之中见感怀。

 山园小梅 The Small Plum of the Mountain Garden 林逋 · 同写景物含情、清雅超然，一写疏影横斜水清浅暗香浮动月黄昏、一写好是春风湖上亭柳条藤蔓系离情，皆于景物之中见含情 Both are the poems of the beloved natural place — Rong Yu's pavilion and oriole, Lin Bu's plum and the moon — the two affections of the place.

Rong Yu's poem loves the pavilion of the lake — the good of the familiar place, the crying of the oriole at the parting; Lin Bu's 'Small Plum of the Mountain Garden' loves the plum of the garden — the sparse shadow and the hidden fragrance — the two affections of the natural place, the one parted from, the other dwelt with.

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、景物含情，是宋诗咏物的绝唱；戎昱《移家别湖上亭》则以「好是春风湖上亭，柳条藤蔓系离情」「黄莺久住浑相识」写湖上亭系离情、黄莺久住。两诗同写景物含情、清雅超然：一写疏影横斜水清浅暗香浮动月黄昏、以梅写清雅，一写好是春风湖上亭柳条藤蔓系离情、以柳写惜别；一为林逋之清逸、一为戎昱之含蓄，并读正可见诗写「景物含情」的两种笔法，皆于景物之中见含情。