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唐 Tang · 诗 Poem

同水部张员外籍曲江春游寄白二十二舍人

A, Spring, Excursion, on, the, Qujiang, with, the, Secretary, Zhang, Ji, of, the, Water, Ministry, Sent, to, the, Retainer, Bai, the, Twenty, Second

韩愈

Han Yu

春景spring 寄友friendship

漠漠轻阴晚自开，青天白日映楼台。
曲江水满花千树，有底忙时不肯来。

The, vast, the, light, clouds, in, the, evening, of, their, own, self, opening,
The, blue, sky, the, white, sun, shining, the, towers, and, the, terraces.
The, Qujiang, water, full, the, flowers, a, thousand, trees,
What, busy, time, that, you, would, not, come.

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Meaning

A poem of the spring and the invitation, written by Han Yu. The vast the light clouds in the evening of their own self opening, the blue sky the white sun shining the towers and the terraces — the spring of the opening. The Qujiang water full the flowers a thousand trees, what busy time that you would not come — the invitation of the close. The poem is the spring and the invitation: the sky, the water, and the close's question.

漠漠轻阴晚自开，青天白日映楼台。曲江水满花千树，有底忙时不肯来。

Appreciation

[Plain Paraphrase] The, vast, the, light, clouds, in, the, evening, of, their, own, self, opening, the, blue, sky, the, white, sun, shining, the, towers, and, the, terraces. The, Qujiang, water, full, the, flowers, a, thousand, trees, what, busy, time, that, you, would, not, come. [Structure and Thought] The poem moves from the spring of the light clouds and the blue sky with the towers and the terraces, through the Qujiang water full and the thousand trees, to the close's the question of the coming. [Key Technique] The poem's art is the close of the invitation: the Qujiang water full the flowers a thousand trees, and the close's what busy time that you would not come — the spring gathered in the scene and the close's question. [Emotional Tone] Bright, fresh, and inviting: the poem is the sky, the water and the close's question.

【白话串讲】韩愈写《同水部张员外籍曲江春游寄白二十二舍人》：“漠漠轻阴晚自开，青天白日映楼台”——“曲江水满花千树，有底忙时不肯来”——他游曲江，问白居易怎么不来——他写春日邀友。【意象与手法】此诗写春景，以邀约写春景，是韩愈的名篇。前二句写春景：「漠漠轻阴晚自开，青天白日映楼台」写漠漠轻阴晚自开、青天白日映楼台——写尽青天白日的映楼台；后二句写邀约：「曲江水满花千树，有底忙时不肯来」写曲江水满花千树、有底忙时不肯来——写尽有底忙时的不肯来。全诗以邀约写春景，写尽青天白日的映楼台与有底忙时的不肯来，是韩愈的代表作。【情感与主旨】此诗写春景，以邀约写春景，是韩愈的名篇。此诗为韩愈与张籍曲江春游之作，写其春景之美与邀友之切。韩愈此诗写其曲江春游邀白居易。此诗写漠漠轻阴晚自开，青天白日映楼台；曲江水满花千树，有底忙时不肯来。此诗写春景：漠漠轻阴晚自开，青天白日映楼台——写漠漠轻阴晚自开、青天白日映楼台，写尽青天白日的映楼台；曲江水满花千树，有底忙时不肯来——写曲江水满花千树、有底忙时不肯来，写尽有底忙时的不肯来。全诗以邀约写春景——那「青天白日映楼台」写尽青天白日的映楼台，「有底忙时不肯来」写尽有底忙时的不肯来，写尽青天白日的映楼台与有底忙时的不肯来，是理解韩愈春景诗的重要篇章。【名句点睛】常考「漠漠轻阴晚自开，青天白日映楼台」写青天白日的映楼台；「曲江水满花千树，有底忙时不肯来」写有底忙时的不肯来；以及全诗以邀约写春景、以反问写邀约的手法。

Background

Han Yu (768-824), the great writer of the Tang, wrote this 'A, Spring, Excursion, on, the, Qujiang' of the spring and the invitation — the calling of the absent friend. The light clouds with the blue sky, the Qujiang water with the thousand trees, and the close's the question of the coming — the poem gathers the freshness of the poet, the warmth of the invitation. The poem is one of the famous works of the poet's poems of the spring.

此诗写春景，以邀约写春景，是韩愈的名篇。韩愈（768—824），字退之，河阳（今河南孟州）人，自谓郡望昌黎，世称「韩昌黎」，唐代文学家、思想家、政治家，古文运动的倡导者，「唐宋八大家」之首，与柳宗元并称「韩柳」。此诗为韩愈与张籍曲江春游之作，写其春景之美与邀友之切。韩愈此诗写其曲江春游邀白居易。此诗写漠漠轻阴晚自开，青天白日映楼台；曲江水满花千树，有底忙时不肯来。此诗写春景：「漠漠轻阴晚自开，青天白日映楼台」写漠漠轻阴晚自开、青天白日映楼台——写尽青天白日的映楼台（漠漠轻阴晚自开，青天白日映楼台）；「曲江水满花千树，有底忙时不肯来」写曲江水满花千树、有底忙时不肯来——写尽有底忙时的不肯来（曲江水满花千树，有底忙时不肯来）。全诗以邀约写春景，写尽青天白日的映楼台与有底忙时的不肯来，是理解韩愈春景诗的重要篇章。又，曲江为长安名胜，唐代进士及第后例宴游于此，春日水满花发、楼台掩映，为游赏胜地。此诗作于韩愈与张籍同游曲江之后，白居易因故未至，韩愈遂以诗寄之相邀；「漠漠轻阴晚自开」写春阴晚散，「青天白日映楼台」写晴光楼台，「曲江水满花千树」写春水花发，三句铺写曲江之美，末以「有底忙时不肯来」嗔问逗趣，于诙谐中见相知之深、相惜之切。

Art

The poem's art is the art of the invitation. The spring opens: the, vast, the, light, clouds, in, the, evening, of, their, own, self, opening — the light clouds of the evening; the, blue, sky, the, white, sun, shining, the, towers, and, the, terraces — the towers and the terraces of the blue sky. The invitation follows: the, Qujiang, water, full, the, flowers, a, thousand, trees — the thousand trees of the Qujiang; what, busy, time, that, you, would, not, come — the not coming of the busy time — the sky, the water and the close's invitation, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以白描写春阴。「漠漠轻阴晚自开」以白描写春阴——那「青天白日映楼台」写尽青天白日的映楼台，以白描写尽青天白日的映楼台。其二，以写景写春水。「曲江水满花千树」以写景写春水——那「花千树」写尽水满花的千树，以写景写尽曲江水满的花千树。其三，以反问写邀约。「有底忙时不肯来」以反问写邀约——那「不肯来」写尽忙时的不肯来，以反问写尽有底忙时的不肯来。其四，以对比写春色。「漠漠轻阴」以对比写春色——那「青天白日」写尽青天的白日，以对比写尽青天白日的映楼台。此外，此诗前写青天白日的映楼台，后写有底忙时的不肯来，由景及人，正是邀约诗「以景劝人」的写法。四重手法，使此诗以邀约写春景，写尽青天白日的映楼台与有底忙时的不肯来，是韩愈的代表作。又，此诗前二句写天气由阴转晴，「漠漠轻阴晚自开」与「青天白日映楼台」一开一映，阴晴转换如在目前，画面明净开阔；第三句「曲江水满花千树」连用「水满」「花千树」两个意象，以浓笔重彩渲染曲江春色之盛，为末句作势；末句「有底忙时不肯来」转以口语入诗，一问收束，嗔怪中见亲昵，把春景之赞美与邀友之急切融于一句，正是韩愈「以文为诗、以俗为雅」而又不失天真之趣的妙笔。

Allusions

'The light clouds' (qing yin) are the light clouds — the clouds of the light, the opening of the evening; 'the Qujiang' (qu jiang) is the Qujiang — the river of the Qu, the water of the middle; 'the thousand trees' (qian shu) are the thousand trees — the trees of the thousand, the flowers of the spring.

此诗的用语深植于春景与邀约传统。「轻阴」令人想到「轻阴」写轻阴的意象——也令人想到「漠漠轻阴」的意象；「晚自开」令人想到「晚自开」写自开的意象——也令人想到「云开雾散」的意象；「青天白日」令人想到「青天白日」写晴空的意象——也令人想到「白日青天」的意象；「映楼台」令人想到「映楼台」写楼台的意象——也令人想到「楼台倒影入池塘」（高骈）的意象；「曲江」令人想到「曲江」写曲江的意象——也令人想到「曲江春水」的意象；「水满」令人想到「水满」写水满的意象——也令人想到「春江水暖鸭先知」（苏轼）的意象；「花千树」令人想到「花千树」写花树的意象——也令人想到「东风夜放花千树」（辛弃疾）的意象；「有底」令人想到「有底」写有何的意象——也令人想到「有底忙时」的意象；「不肯来」令人想到「不肯来」写未来的意象——也令人想到「请君莫奏前朝曲，听唱新翻杨柳枝」的意象。全诗化用轻阴、晚自开、青天白日、映楼台、曲江、水满、花千树、有底、不肯来的意象，以邀约写春景，正是韩愈「雄健」而善白描、承盛唐山水传统写春景之本领。

Commentary

This poem is one of the famous works of Han Yu's poems of the spring, quoted for the freshness of its scene and the warmth of its close. The Qujiang water full the thousand trees, and the question of the not coming, are among the admired passages of the poet's poems. Critics praise the poem's invitation: the spring gathered in the scene, to the close's question.

此诗历来被推为韩愈春景诗的名篇，也是唐诗写春游邀友的代表。历代论者对此诗评价极高：宋人评此诗「以邀约写春景，明快自然」；近人更指出「漠漠轻阴晚自开，青天白日映楼台」写青天白日的映楼台，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以短章写尽青天白日的映楼台与有底忙时的不肯来——那漠漠，那轻阴，那晚自开，那青天，那白日，那映楼台，那曲江，那水满，那花千树，那有底，那忙时，那不肯来，都写尽了韩愈笔下的同水部张员外籍曲江春游寄白二十二舍人；那「有底忙时不肯来」更以反问写尽有底忙时的不肯来。此诗与韩愈《早春呈水部张十八员外》「天街小雨润如酥」同为春景名篇，一写「草色遥看近却无」的早春，一写「曲江水满花千树」的曲江；一写早春，一写春盛。两诗对读，可见韩愈春景诗的两面。对于今日读者，此诗是理解韩愈春景诗的窗口，也是唐诗写春游邀友的经典——那有底忙时的不肯来，穿越千年，仍在诉说着青天白日的映楼台。

Prosody

Form A quatrain of the spring (qi yan jue ju)七言绝句

Rhyme The poem rhymes on the level of the group — the cadence of the quatrain that carries the fresh invitation.七绝押「台」「来」（灰佳韵），首句入韵

Tone pattern The cadence is that of the invitation: the level opening with the spring, the turning with the water, and the close's fall with the question.此诗为七言绝句，押平声韵，首句入韵，音节明快，正合春景的明快。

Reading note The poem's sound matches its freshness: the cadences of the quatrain, and the close — 'you di mang shi bu ken lai' — falls with the coming, the sound of the invitation of the spring poet.此诗为七言绝句——「漠漠轻阴晚自开，青天白日映楼台。曲江水满花千树，有底忙时不肯来」，押平韵（台、来），首句入韵，音节明快。全诗以邀约写春景：前写青天白日的映楼台（漠漠轻阴晚自开），后写有底忙时的不肯来（曲江水满花千树）。短章四句，前写春景，后写邀约，以「有底忙时不肯来」写尽有底忙时的不肯来，正见韩愈「雄健」的本色。诵读此诗，宜以明快的语调读「青天白日映楼台」的春景，以风趣的语调读「有底忙时不肯来」的邀约，结句要读得明快而有余韵，方能传达出韩愈的明快自然。韩愈绝句以「雄健」著称，此诗正是其春景诗的典范。

Line by line

漠漠轻阴晚自开，青天白日映楼台

The, vast, the, light, clouds, in, the, evening, of, their, own, self, opening, the, blue, sky, the, white, sun, shining, the, towers, and, the, terraces.

漠漠轻阴晚自开，青天白日映楼台。

Vast, the light clouds of evening of their own part; blue sky, white sun, shining on towers and terraces.

此二句是全诗写春景的核心，以漠漠轻阴晚自开写晚自开，以青天白日映楼台写映楼台，写尽青天白日的映楼台，是千古名句。「漠漠轻阴晚自开」写漠漠轻阴晚自开——那「漠漠轻阴」写漠漠轻阴，「晚自开」写晚自开，写尽漠漠轻阴的晚自开；「青天白日映楼台」写青天白日映楼台——那「青天白日」写青天白日，「映楼台」写映楼台，写尽青天白日的映楼台。这句的深意在于：它以「漠漠轻阴晚自开」的晚自开与「青天白日映楼台」的映楼台，写尽青天白日的映楼台——漠漠轻阴晚自开，那「漠漠轻阴晚自开」写尽漠漠轻阴的晚自开——漠漠轻阴晚自开，正是轻阴晚开的写照，那「晚自开」写尽青天白日的映楼台；青天白日映楼台，那「青天白日映楼台」写尽青天白日的映楼台——青天白日映楼台，正是白日映楼的写照，那「映楼台」写尽青天白日的映楼台；那「漠漠轻阴晚自开」写尽漠漠轻阴的晚自开，那「青天白日映楼台」写尽青天白日的映楼台，一写晚自开，一写映楼台，写尽青天白日的映楼台——轻阴晚开而白日映楼，正是春景的写照；此二句以晚自开、映楼台写尽青天白日的映楼台，也为下文的曲江作铺垫，也让此二句成为全诗写春景的核心与千古名句。若换作直说「漠漠轻阴傍晚自散，青天白日映照楼台」，则失其明快；唯以「漠漠轻阴晚自开」写晚自开、「青天白日映楼台」写映楼台，写尽青天白日的映楼台，也让此二句成为全诗写春景的核心。

These two lines are the poem's core in writing the spring scene, famous through the ages. Vast, the light clouds of evening of their own part: vast light-clouds names the overcast morning, evening-of-their-own-part writes the clouds clearing in the afternoon. Blue sky, white sun, shining on towers and terraces: blue-sky-white-sun names the cleared weather, shining-on-towers writes the light on Qujiang's pavilions. The deeper pathos lies in the turn from cloud to sun: the morning was overcast, yet by afternoon the sky has cleared of itself, and the towers are flooded with light. Han Yu's invitation to Bai Juyi (who declined) opens with this transformed weather - not complaining, but describing how splendid the day became. The vast clouds and the white sun give the scene both breadth and brightness. Compared with a plain saying the clouds cleared and the sun shone on the towers, the vastness and the of-their-own give the clearing both scale and spontaneity, making this the poem's core in writing the spring scene.

曲江水满花千树，有底忙时不肯来

The, Qujiang, water, full, the, flowers, a, thousand, trees, what, busy, time, that, you, would, not, come.

曲江水满花千树，有底忙时不肯来。

Qujiang's waters are full, flowers on a thousand trees; what busy time kept you from coming?

此二句是全诗写邀约的核心，以曲江水满花千树写花千树，以有底忙时不肯来写不肯来，写尽有底忙时的不肯来，是千古名句。「曲江水满花千树」写曲江水满花千树——那「曲江水满」写曲江水满，「花千树」写花千树，写尽曲江水满的花千树；「有底忙时不肯来」写有底忙时不肯来——那「有底忙时」写有底忙时，「不肯来」写不肯来，写尽有底忙时的不肯来。这句的深意在于：它以「曲江水满花千树」的花千树与「有底忙时不肯来」的不肯来，写尽有底忙时的不肯来——曲江水满花千树，那「曲江水满花千树」写尽曲江水满的花千树——曲江水满花千树，正是水满花树的写照，那「花千树」写尽有底忙时的不肯来；有底忙时不肯来，那「有底忙时不肯来」写尽有底忙时的不肯来——有底忙时不肯来，正是何事忙而不来的写照，那「不肯来」写尽有底忙时的不肯来；那「曲江水满花千树」写尽曲江水满的花千树，那「有底忙时不肯来」写尽有底忙时的不肯来，一写花千树，一写不肯来，写尽有底忙时的不肯来——水满花树而君不肯来，正是邀约的写照；此二句以花千树、不肯来写尽有底忙时的不肯来，也让此二句成为全诗写邀约的核心与千古名句。若换作直说「曲江春水涨满花满千树，你有什么忙事不肯来」，则失其风趣；唯以「曲江水满花千树」写花千树、「有底忙时不肯来」写不肯来，写尽有底忙时的不肯来，也让此二句成为全诗写邀约的核心。

These two lines are the poem's core in the invitation, famous through the ages. Qujiang's waters are full, flowers on a thousand trees: Qujiang-water-full names the flooded spring waters, flowers-on-a-thousand-trees names the blossoms. What busy time kept you from coming? uses what-busy-time for the gentle challenge, refused-to-come for Bai Juyi's absence. The deeper pathos lies in the contrast: the day is perfect - full waters, thousand trees in flower - and Bai is busy somewhere else. The poem does not accuse; it asks, lightly, what could keep a man from such a day. The line is famous for its teasing affection - the splendor of the scene makes the absence more conspicuous, and the question makes the absence a gentle joke between friends. Compared with a plain saying the Qujiang is beautiful and you didn't come, the full waters and thousand trees set off the refusal with comic emphasis, making this the poem's core in the invitation.

Study

Word focus

开 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「漠漠轻阴晚自开」之「开」字是写春景关键词，一个「开」字写尽漠漠轻阴的晚自开。开者，散开、开朗也。韩愈以「漠漠轻阴晚自开」写春景，这个「开」字至少有双重意味：其一，写阴之开——那「漠漠轻阴晚自开」写漠漠轻阴晚自开，那「开」字写尽漠漠轻阴的晚自开——晚自开，正是轻阴晚散的写照，那「开」字写尽漠漠轻阴的晚自开；其二，写景之朗——那「开」字更是写朗——开，正见天朗气清的意味，那「开」字写尽韩愈的欣悦。以「开」字写春景，正是韩愈写邀约的枢纽——若换作「散」「晴」等字，则或失其与「漠漠轻阴晚自开」「青天白日映楼台」的配合，或失其写开的意味；唯「开」字，以漠漠轻阴晚自开写尽轻阴之自散与天气之开朗，与「青天白日映楼台」的映楼台相合，写尽漠漠轻阴的晚自开，也让「漠漠轻阴晚自开」成为全诗写春景的名句。

底 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「有底忙时不肯来」之「底」字是写邀约关键词，一个「底」字写尽有底忙时的不肯来。底者，何底、何事也。韩愈以「有底忙时不肯来」写邀约，这个「底」字至少有双重意味：其一，写忙之底——那「有底忙时不肯来」写有底忙时不肯来，那「底」字写尽有底忙时的不肯来——有底，正是有何忙事的写照，那「底」字写尽有底忙时的不肯来；其二，写问之切——那「底」字更是写切——底，正见嗔问的意味，那「底」字写尽韩愈的邀约。以「底」字写邀约，正是韩愈写春景的枢纽——若换作「何」「甚」等字，则或失其与「有底忙时不肯来」「曲江水满花千树」的配合，或失其写底的意味；唯「底」字，以有底忙时不肯来写尽嗔问之切与邀友之真，与「曲江水满花千树」的花千树相合，写尽有底忙时的不肯来，也让「有底忙时不肯来」成为全诗写邀约的名句。