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唐 Tang · 诗 Poem

与诸子登岘山

Climbing Mount Xian with My Friends

孟浩然

Meng Haoran

怀古History 哲理Philosophy

人事有代谢，往来成古今。
江山留胜迹，我辈复登临。
水落鱼梁浅，天寒梦泽深。
羊公碑字在，读罢泪沾襟。

The human affairs have the succession and the change,
The comings and the goings, forming the ancient and the present.
The rivers and the mountains, leaving the superior traces,
My generation, again, climbing and looking down.
The water falling, the Yuliang shallow,
The sky cold, the Yunmeng deep.
The stele of the Duke Yang, the words, in,
Reading it over, the tears, wetting the lapel.

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Meaning

A poem of the climb and the memory, written by Meng Haoran. The human affairs have the succession and the change — the comings and the goings, forming the ancient and the present — the succession of the affairs and the ancient and the present. The rivers and the mountains, leaving the superior traces — my generation, again, climbing and looking down — the superior traces and the climb of my generation. The water falling, the Yuliang shallow — the sky cold, the Yunmeng deep — the shallow Yuliang and the deep Yunmeng. The stele of the Duke Yang, the words, in — reading it over, the tears, wetting the lapel — the stele of the Duke Yang and the tears of the close. The poem is the climb and the memory: the succession of the affairs, the superior traces, and the close's tears over the stele.

人间世事有兴盛也有衰败更替，来来往往之间便成了古往今来。江山依旧留存着前人留下的名胜古迹，我们这一辈人又来登临观赏。水落下去，鱼梁洲显得清浅；天气寒冷，云梦泽显得深邃幽远。羊公的碑文还立在那里，我读完碑文，不由得泪落沾湿衣襟。

Appreciation

[Plain Paraphrase] The human affairs have the succession and the change, the comings and the goings, forming the ancient and the present. The rivers and the mountains, leaving the superior traces, my generation, again, climbing and looking down. The water falling, the Yuliang shallow, the sky cold, the Yunmeng deep. The stele of the Duke Yang, the words, in, reading it over, the tears, wetting the lapel. [Structure and Thought] The poem moves from the succession of the affairs and the ancient and the present, through the superior traces and the climb of my generation, and the shallow Yuliang with the deep Yunmeng, to the close's stele of the Duke Yang and the tears. [Key Technique] The poem's art is the succession of the affairs: the comings and the goings forming the ancient and the present, and the close's tears over the stele of the Duke Yang — the memory of the climb gathered in the succession and the close's tears. [Emotional Tone] Deep, calm, and sorrowful: the poem is the climb, the memory of the past and the close's tears.

【白话串讲】孟浩然和朋友登岘山：“人事有代谢，往来成古今”。“江山留胜迹，我辈复登临”——“水落鱼梁浅，天寒梦泽深”——“羊公碑字在，读罢泪沾襟”——他读羊祜的碑，落泪。【意象与手法】全诗以登临怀古为线索，前半议论，后半写景抒情，由虚入实，层层递进。手法上最突出的是以景写情：鱼梁浅、梦泽深，既是眼前实景，又暗喻世事之变迁与人生之渺茫；羊公碑既是实有之物，又是历史兴亡的见证。全诗语言平易自然，却含哲理深意，是孟浩然诗中少见的深沉之作。【情感与主旨】诗写登岘山怀羊祜的感慨，主旨在于感叹宇宙永恒、人生短暂，功业如过眼烟云，唯有令名长存。羊祜当年登岘山曾叹身后不知何人登临，孟浩然今日登临正应其言，故读碑而泪下。全诗由眼前的登临联想到百年前的羊公，由个人的感慨升华到对人生价值的思考，怀古而兼有哲理之思。【名句点睛】人事有代谢，往来成古今一联以哲言起笔，道尽兴亡之理，为全诗立骨；水落鱼梁浅，天寒梦泽深以景写情，苍茫中见深沉；读罢羊公碑，泪沾襟，一收全篇，余韵无穷。

Background

Meng Haoran (689–740) wrote this 'Climbing Mount Xian with My Friends' at the mountain of the Xian — the memory of the past. The succession of the human affairs with the comings and the goings forming the ancient and the present, the superior traces of the rivers and the mountains with the climb of my generation, the shallow Yuliang and the deep Yunmeng of the scene, and the close's tears over the stele of the Duke Yang — the poem gathers the memory of the climb, the feeling of the ancient and the present. The poem is one of the famous works of the poet's poems of the memory.

《与诸子登岘山》是孟浩然晚年的怀古名作，约作于开元二十六年（738年）前后。岘山在襄阳城南汉水之滨，山上有岘山亭与羊公碑，是著名的登临怀古之地。晋代名将羊祜镇守襄阳时，常登岘山置酒言咏，曾叹曰：自有宇宙，便有此山，由来贤达胜士登此远望如我与卿者多矣，皆湮灭无闻，使人悲伤。羊祜死后，襄阳百姓于岘山建碑立庙，岁时祭祀，望其碑者莫不流涕，杜预因名为堕泪碑。孟浩然是襄阳人，早年隐居鹿门山，四十岁赴长安应进士不第，遂漫游吴越，后归襄阳。此诗作于诗人晚年归乡之时，与友人同登岘山，面对羊公碑，联想到羊祜当年的感叹，更兼自身怀才不遇、功业未就的身世，不禁感慨系之。诗中以羊公碑为触发点，将历史沧桑与个人感慨融为一体，是孟浩然怀古诗的代表作，也是襄阳诗风的典范之作。诗中羊公碑、鱼梁洲皆襄阳故实，登临之际，古今同慨，遂成此怀古名篇。

Art

The poem's art is the art of the memory. The affairs open: the human affairs have the succession and the change — the succession of the affairs; the comings and the goings, forming the ancient and the present — the comings and the goings of the time. The climb follows: the rivers and the mountains, leaving the superior traces — the traces of the past; my generation, again, climbing and looking down — the climb of my generation. The scene: the water falling, the Yuliang shallow — the shallow Yuliang; the sky cold, the Yunmeng deep — the deep Yunmeng. And the close gathers the tears: the stele of the Duke Yang, the words, in — the stele of the past; reading it over, the tears, wetting the lapel — the tears of the close — the climb, the memory and the close's tears, gathered in the poem.

此诗在艺术上最显著的特点是议论、写景、抒情的完美结合。全诗八句，前半以议论开篇：人事有代谢，往来成古今，从哲学高度概括宇宙与人生的关系，为全诗立骨；江山留胜迹，我辈复登临，由哲理转入眼前登临之事，过渡自然。后半转入写景抒情：水落鱼梁浅，天寒梦泽深，写登临所见，鱼梁洲与云梦泽皆襄阳附近实有之地，一浅一深，既是季节特征的写实，又暗含历史之浅近与世事之幽深的象征意味；羊公碑字在，读罢泪沾襟，以泪收束，情感喷薄而出。章法上前半理、后半情，理中寓情，情中含理，浑然一体。语言平易而意蕴深厚，无一字雕琢而自见功力。此诗与孟浩然其他清丽恬淡之作不同，于平淡中见沉郁，于议论中见深情，显示出诗人晚年诗风的转变与成熟。尤可味者，全诗由理入情、由景入泪，议论而不空泛，写景而不堆砌，抒情而不直露，三者融为一炉，浑然无迹，足见孟襄阳晚年诗艺之精纯。

Allusions

'The superior traces' (sheng ji) are the superior traces — the traces of the past, the remains of the rivers and the mountains; 'the Yuliang' (Yuliang) is the Yuliang — the shallow of the water, the fish beam of the river; 'the Yunmeng' (Yunmeng) is the Yunmeng — the deep of the sky, the marsh of the ancient; 'the stele of the Duke Yang' (Yang gong bei) is the stele of the Duke Yang — the stele of the Yang Hu, the Duke of the past; 'the lapel' (jin) is the lapel — the lapel of the robe, the tears of the close.

此诗用典自然贴切，皆与襄阳风物相关。鱼梁指鱼梁洲，在襄阳城外汉水中，为隐者庞德公曾隐居之地，东汉名士庞德公与司马徽、诸葛亮等友善，隐于鱼梁洲上，不入城市，此处以鱼梁洲的隐逸传统暗衬登临者的超然心境。梦泽即云梦泽，古代大泽名，跨今湖北湖南之境，襄阳古属云梦泽范围，以天寒梦泽深写登临远眺之苍茫。羊公碑即堕泪碑，用羊祜典：羊祜镇襄阳有惠政，死后百姓建碑，望碑者莫不流涕，故称堕泪碑。羊祜当年登岘山曾叹贤达胜士皆湮灭无闻，孟浩然今日登临，正是羊祜所叹的后来者，读碑而泪下，古今相通，一叹一哭，皆是人生短暂的深沉感慨。全诗用典皆就地取材，以襄阳的历史风物承载怀古之情，使典故与眼前的登临、自身的感慨融为一体，不露痕迹而意蕴深厚。凡此诸典，皆与襄阳一地紧密相连，登临怀古，就地取材，使百代之下读之，犹能想见岘山碑前之人。

Commentary

This poem is one of the famous works of Meng Haoran's poems of the memory, quoted for the succession of its opening and the tears of its close. The comings and the goings forming the ancient and the present, and the tears over the stele, are among the admired passages of the poet's poems of the climb. Critics praise the poem's depth: the memory gathered in the succession, to the close's tears.

《与诸子登岘山》是孟浩然怀古诗的压卷之作，历代论者评价甚高。清人沈德潜《唐诗别裁》评此诗曰：清空一气，如话家常，而自有深厚之味。诗中人事有代谢，往来成古今一联，以平淡之语道出兴亡至理，历来为人传诵，被视为以议论入诗而能浑然天成的典范。全诗由哲思起、以眼泪收，将宇宙之永恒与人生之短暂、历史之苍茫与个人之渺茫对照写出，情感深挚而不颓丧，格调苍凉而不消沉。孟浩然诗向以山水田园的清新淡远著称，此诗却于怀古中见出深沉的历史意识与人生感慨，显示出诗人思想的另一面。此诗对后世影响深远，唐代诗人登临怀古之作多受其启发，宋代苏轼、陆游等人题咏襄阳的诗作亦屡引羊公碑、堕泪碑之典，可见其文化影响之持久。就唐诗史而言，此诗与陈子昂《登幽州台歌》同为登临怀古的杰作，一以爆发式的悲慨胜，一以含蓄式的深沉胜，双峰并峙。

Prosody

Form A regulated five-character poem of the climb五言律诗

Rhyme The poem rhymes on the level-tone jin, lin, shen and jin of the group — the even, level rhyme that carries the deep memory.全诗八句，五言律体，押真韵：今、临、深、襟相协，平声真韵，一韵到底，声调舒缓悠长。

Tone pattern The cadence is that of the memory: the level opening with the succession, the turning with the climb and the scene, and the close's fall with the tears wetting the lapel.此诗平仄谐和，对仗工整：人事有代谢，往来成古今与江山留胜迹，我辈复登临相对，水落鱼梁浅，天寒梦泽深一联尤为工绝，浅深对举，精妙无比。全诗声调从容平缓，正合登临怀古、低回咏叹的情境，一韵到底的悠长声调，更添苍茫之感。

Reading note The poem's sound matches its depth: the even, level rhymes carry the cadence of the memory, and the close — 'du ba lei zhan jin' — falls with the lapel, the sound of the tears of the poet.此诗为标准的五言律诗，格律严谨，是孟浩然律诗中的代表作。全诗平仄谐和，音律流畅，中二联对仗工整：第二联江山留胜迹，我辈复登临，以江山对我辈、胜迹对登临，虚实相生；第三联水落鱼梁浅，天寒梦泽深，以水落对天寒、鱼梁对梦泽、浅对深，工绝而自然，是唐代律诗中最负盛名的对句之一。押韵上，此诗押真韵，今、临、深、襟皆为平声，韵脚开阔舒朗，正与登临远眺的意境相合。值得注意的是，此诗虽是律诗，却不以格律取胜，而以内容的深厚度见长：前两联议论开篇，打破了一般律诗先写景的惯例，议论入律而能浑然天成，是孟浩然的独创。全诗声情与辞情高度统一，平缓的声调中含着深沉的感慨，读来一唱三叹，余味无穷，堪称唐诗中以议论入律的典范之作。

Line by line

人事有代谢，往来成古今。

The human affairs have the succession and the change, the comings and the goings, forming the ancient and the present.

人间世事有兴盛也有衰败更替，来来往往之间便成了古往今来。

Human affairs rise and fall; comings and goings make the past and the present.

开篇两句以哲言起笔，为全诗立骨，是千古传诵的名句。人事有代谢，言人间万事万物皆在生灭变化之中，王朝有兴替，人物有生死，春去秋来，生生不息；往来成古今，言这代谢往来的过程，便构成了从古到今的历史长河。两句以极平淡的语言概括了宇宙人生的根本规律，语浅而意深。妙处在于：诗人不是抽象地谈哲理，而是面对岘山这一历史见证之地，由眼前的古迹联想到千百年的兴亡，自然引出这层感慨。有代谢的有一字，见出变化的必然；成古今的成字，见出时间的累积。两句既是议论，又是感叹，为下文登临怀古、读碑落泪作了哲理性的铺垫，使全诗的感慨不流于表面，而有深厚的思想底蕴。这是唐诗中以议论开篇而能卓然成立的典范。

The opening two lines open with philosophic words, establishing the poem's bone; an age-famous line recited through the ages. Human affairs have their ebb and flow says all things under heaven are within birth-and-extinction change; dynasties rise and fall, men live and die, spring goes and autumn comes, unceasing. Comings and goings make the ancient and the modern says this process of ebb and flow and coming and going constitutes the historical river from ancient to modern. The two lines in most plain language summarize the fundamental law of cosmos and life; words shallow yet meaning deep. The subtlety lies in: the poet does not abstractly discuss philosophy, but facing Mount Xian, this witness of history, associates from the present ancient relic with a thousand years of rise and fall, naturally drawing forth this sigh. The has in ebb and flow shows the necessity of change; the make in make the ancient and the modern shows time's accumulation. The two lines are at once argument and sigh, preparing a philosophic ground for the later climb and stele tears, making the poem's sigh not superficial but of deep thought. This is the model among Tang poems of opening with argument yet standing out.

江山留胜迹，我辈复登临。

The rivers and the mountains, leaving the superior traces, my generation, again, climbing and looking down.

江山依旧留存着前人留下的名胜古迹，我们这一辈人又来登临观赏。

Rivers and mountains leave their famous relics; we of this generation climb them again.

此二句由哲理转入眼前登临之事，承上启下，是全诗的枢纽。江山留胜迹，写岀山上的羊公碑等古迹历经沧桑而犹存：江山是永恒的，胜迹是前贤留下的印记，虽朝代更迭、人事代谢，古迹却依然矗立；我辈复登临，写今日之我辈又来到此地登临凭吊，一个复字，点出历史的重复：今日之我，正如昔日之羊公，登同一座山，发同一番感慨。两句在永恒与短暂之间形成对照：江山永存而人事无常，胜迹长留而人生易老，前人的足迹成了今日登临的景点，今日的登临又将成后人的凭吊。这种古今同慨的思绪，正是怀古诗的核心。复字尤为精妙，它暗示了这种登临怀古之情在历史上反复上演，羊公之后有孟浩然，孟浩然之后还会有后来者，历史就在这往复的登临中绵延。

These two lines pass from philosophy to the present climb, carrying above and opening below, the poem's pivot. Rivers and mountains leave their famous relics writes the Yang Gong stele and other ancient traces on the mountain surviving vicissitude: rivers and mountains are eternal; the famous traces are the marks left by the ancients; though dynasties change and affairs ebb, the ancient relics still stand. We of this generation climb them again writes we of today come once more to climb and mourn; one again points out history's repetition: we today are precisely Yang Gong of old, climbing the same mountain, sighing the same sigh. The two lines form a contrast between the eternal and the fleeting: rivers and mountains abide, yet human affairs are changeless; the famous traces remain, yet life is quickly aged; the ancients' footprints become today's climbing attractions, today's climbing will become later ages' mourning. This古今-shared-sigh thought is precisely the core of historical-musing poetry. Again is most refined: it hints that this climb-and-mourn feeling repeats itself through history; after Yang Gong came Meng Haoran, after Meng Haoran will come those who follow; history continues in this repeated climb.

水落鱼梁浅，天寒梦泽深。

The water falling, the Yuliang shallow, the sky cold, the Yunmeng deep.

水落下去，鱼梁洲显得清浅；天气寒冷，云梦泽显得深邃幽远。

Waters sink, and Yuliang shoal is shallow; skies turn cold, and Dream Lake grows deep.

此二句写登临所见之景，是全诗最见功力的写景名句。水落鱼梁浅，写秋冬水落，汉水中的鱼梁洲露出浅滩；天寒梦泽深，写天气寒冷，远望云梦大泽一片苍茫幽深。两句以浅对深，一近一远，一明一暗，构成开阔而苍凉的画面。表面是写实景，实则寄寓深意：鱼梁洲曾是庞德公隐居之处，浅字暗含隐逸传统已如浅水般淡薄；云梦泽是古之大泽，深字暗含历史的幽深邈远。一浅一深之间，既有季节物候的真实，又有历史沧桑的象征，景语即是情语。浅与深二字，炼字精妙，浅见清冷，深见苍茫，正与诗人登临怀古、低回不已的心境相合。两句以最简洁的笔墨写出最苍茫的意境，是孟浩然写景造境功力最深的句子，也是唐代山水诗中以景写情的典范。

These two lines write the scenery seen from the climb, the poem's most skillful scenery line. Waters sink, and Yuliang shoal is shallow writes autumn-winter falling water, the Yuliang shoal in the Han River exposed; skies turn cold, and Dream Lake grows deep writes the cold weather, gazing afar at the vast Yunmeng marsh, gray and deep. The two lines set shallow against deep, one near one far, one bright one dark, forming an open, bleak picture. On the surface real scenery, yet in truth deep meaning: Yuliang shoal was once Pang Degong's hermitage; shallow secretly holds that the recluse tradition is now thin as shallow water; Yunmeng marsh is the great ancient marsh; deep secretly holds history's depth and remoteness. Between shallow and deep there is at once the seasonal reality and the symbolism of vicissitude; scenery words are feeling words. Shallow and deep are refined words: shallow shows clearness, deep shows vastness, precisely matching the poet's climb-and-mourn, lingering mind. The two lines in the simplest brush write the bleakest realm; Meng Haoran's deepest skill in scenery and realm-building, also the model among Tang landscape poems of writing feeling through scenery.

羊公碑字在，读罢泪沾襟。

The stele of the Duke Yang, the words, in, reading it over, the tears, wetting the lapel.

羊公的碑文还立在那里，我读完碑文，不由得泪落沾湿衣襟。

Lord Yang's inscription still stands; reading it through, tears wet my robe.

末二句是全诗的收束，由景入情，情感达到高潮。羊公碑字在，写羊祜的碑文历经百余年而犹在，碑是实的，字是清晰的，而羊公其人早已作古，物在人亡，触目伤怀；读罢泪沾襟，写诗人读完碑文，不禁泪落沾衣，一个泪字，是全诗情感的爆发点。为何而哭？因为羊祜当年登岘山曾叹贤达胜士皆湮灭无闻，而孟浩然今日登临，正应其言——自己怀才不遇、功业未就，与羊祜当年忧虑身后之名的心态不谋而合，千载之下，同病相怜。这泪水是为羊公而流，更是为自己而流，是为古今所有登此山者共有的生命感慨而流。两句以最朴素的笔墨写最深沉的情感，与开篇的哲理议论遥相呼应：正因明白人事有代谢，才更痛惜人生之短暂。全诗以泪收束，余韵苍茫，令人低回不已。

The last two lines are the poem's close, passing from scenery to feeling, the emotion reaching its peak. Lord Yang's inscription still stands writes Yang Hu's inscription surviving over a hundred years; the stele is solid, the characters clear, yet Lord Yang himself long dead; the thing remains, the man gone, the sight grieves. Reading it through, tears wet my robe writes the poet finishing the inscription, tears falling and wetting his clothes; one tear is the poem's emotional explosion point. Why weep? Because Yang Hu then climbed Xian Mountain and sighed that worthy men all vanish unknown; Meng Haoran today's climb exactly answers his words - his own unrecognized talent, unachieved work, precisely matching Yang Hu's worry about posthumous fame a millennium ago; across the ages, fellow sufferers. These tears fall for Lord Yang, and all the more for self, for the shared life-sigh of all who climbed this mountain. The two lines in the plainest brush write the deepest feeling, echoing the opening's philosophic argument: precisely because he understands affairs ebb and flow, he grieves all the more life's shortness. The poem closes in tears, the aftertaste vast, making one linger endlessly.

Study

Word focus

浅 A key expression in the poem. Read it as an image, mood, or grammar point in context. 水落鱼梁浅之浅字，是全诗写景最精妙的炼字。浅本为水浅之意，此处写秋冬水落，鱼梁洲露出浅滩，是实写眼前景物。但此字意蕴远不止于此：鱼梁洲是东汉隐士庞德公隐居之地，是襄阳隐逸文化的象征，浅字暗含这种隐居传统在今日已如浅水般淡薄难觅，历史的风流已随水落而消逝。同时，浅与下句深相对，一近一远、一明一暗，构成开阔苍凉的画面。从季节看，水落是秋冬景象，浅字点出时令的萧瑟；从心境看，浅滩裸露，正像诗人坦露的、无处安放的失落之心。此字看似信手拈来，实则熔写景、象征、心境于一炉，浅而不浅，深味无穷。孟浩然炼字，向以自然见长，此浅字即是自然中见精工的典范。

深 A key expression in the poem. Read it as an image, mood, or grammar point in context. 天寒梦泽深之深字，是与浅字相对的全诗诗眼。深本为水深之意，此处写天寒时节远望云梦大泽，苍茫幽深，一望无际。深字意蕴丰厚：云梦泽是古之大泽，方圆数百里，深字既写其水面之阔大，又暗含历史之幽深邈远——这大泽见证了多少朝代的兴亡，多少英雄的成败；天寒二字更添苍凉，寒深相配，营造出萧瑟旷远的意境。与浅字相对，一浅一深之间，既有空间的一近一远，又有时间的一明一暗，历史的沧桑感尽在其中。更深一层，深字暗写诗人怀古之情的深沉：面对羊公碑，面对这千年大泽，诗人的感慨如这梦泽之水，幽深不可测。此字与浅字对举，双峰并峙，是全诗写景最见功力的一笔，也是孟浩然诗中意境最苍茫的句子。

泪 A key expression in the poem. Read it as an image, mood, or grammar point in context. 读罢泪沾襟之泪字，是全诗情感的点睛之字。泪本为寻常之字，此处却力重千钧：诗人读羊公碑而落泪，这泪是为羊祜而流，也是为自己而流。羊祜当年登岀山，叹贤达胜士皆湮灭无闻，恐后世不复有知者；孟浩然今日登临，怀才不遇，功业未就，正与羊祜同怀此悲，故读碑而泪下。一个泪字，把百年前羊公之叹与今日诗人之悲贯通起来，古今同慨，情感喷薄。泪沾襟三字，更写出泪落之多之重：不是潜然，不是微红眼眶，而是泪水沾湿衣襟，可见悲之深、情之切。此字与前文的议论、写景形成强烈反差：前文说理平淡，写景苍凉，至此处情感如决堤之水，一泻而出，以泪收束全篇，使整首诗的哲思有了情感的落脚点，也使怀古的主题得到最有力的表达。