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宋 Song · 诗 Poem

壬辰寒食

The, Cold, Food, of, the, Year, of, the, Renchen

王安石

Wang Anshi

寒食Theme 思乡Homesickness

客思似杨柳，春风千万条。
更倾寒食泪，欲涨冶城潮。
巾发雪争出，镜颜朱早凋。
未知轩冕乐，但欲老渔樵。

The, thoughts, of, the, guest, like, the, willow,
The, spring, wind, ten, thousand, branches.
More, pouring, the, tears, of, the, Cold, Food,
About, to, rise, the, tide, of, the, city, of, the, smelting.
The, scarf, and, the, hair, the, snow, contending, forth,
The, mirror, face, the, vermilion, early, withering.
Not, knowing, the, joy, of, the, carriage, and, the, cap,
Only, desiring, the, old, of, the, fishing, and, the, woodcutting.

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Meaning

A poem of the festival and the longing, written by Wang Anshi. The thoughts of the guest like the willow, the spring wind ten thousand branches — the longing of the opening. More pouring the tears of the Cold Food, about to rise the tide of the city of the smelting — the sorrow of the middle. The scarf and the hair the snow contending forth, the mirror face the vermilion early withering — the aging of the middle. And the close's not knowing the joy of the carriage and the cap, only desiring the old of the fishing and the woodcutting — the close's desire. The poem is the festival and the longing: the willow, the tears, and the close's fishing.

客思似杨柳，春风千万条。更倾寒食泪，欲涨冶城潮。巾发雪争出，镜颜朱早凋。未知轩冕乐，但欲老渔樵。

Appreciation

[Plain Paraphrase] The, thoughts, of, the, guest, like, the, willow, the, spring, wind, ten, thousand, branches. More, pouring, the, tears, of, the, Cold, Food, about, to, rise, the, tide, of, the, city, of, the, smelting. The, scarf, and, the, hair, the, snow, contending, forth, the, mirror, face, the, vermilion, early, withering. Not, knowing, the, joy, of, the, carriage, and, the, cap, only, desiring, the, old, of, the, fishing, and, the, woodcutting. [Structure and Thought] The poem moves from the longing of the willow and the spring wind, through the sorrow of the tears with the aging of the hair, to the close's the desire of the fishing and the woodcutting. [Key Technique] The poem's art is the close of the desire: the scarf and the hair the snow contending forth, and the close's only desiring the old of the fishing and the woodcutting — the festival gathered in the aging and the close's desire. [Emotional Tone] Longing, sorrowful, and retiring: the poem is the willow, the tears and the close's fishing.

【白话串讲】王安石写《壬辰寒食》：“客思似杨柳，春风千万条”——“更倾寒食泪，欲涨冶城潮”——“巾发雪争出，镜颜朱早凋”——“未知轩冕乐，但欲老渔樵”——寒食节他思乡——巾发雪争出。【意象与手法】此诗写思乡，以感慨写思乡，是王安石的名篇。前二联写客思：「客思似杨柳，春风千万条。更倾寒食泪，欲涨冶城潮」写客思似杨柳、春风千万条——写尽欲涨冶城的寒食泪；后二联写感慨：「巾发雪争出，镜颜朱早凋。未知轩冕乐，但欲老渔樵」写巾发雪争出、镜颜朱早凋——写尽但欲老渔的樵。全诗以感慨写思乡，写尽欲涨冶城的寒食泪与但欲老渔的樵，是王安石的代表作。【情感与主旨】此诗写思乡，以感慨写思乡，是王安石的名篇。此诗为王安石寒食之作，写其客居思乡与功名之慨。王安石此诗写其壬辰年的寒食。此诗写客思似杨柳，春风千万条；更倾寒食泪，欲涨冶城潮；巾发雪争出，镜颜朱早凋；未知轩冕乐，但欲老渔樵。此诗写客思：客思似杨柳，春风千万条——写客思似杨柳、春风千万条，写尽春风千万的千万条；更倾寒食泪，欲涨冶城潮——写更倾寒食泪、欲涨冶城潮，写尽欲涨冶城的寒食泪；巾发雪争出，镜颜朱早凋——写巾发雪争出、镜颜朱早凋，写尽镜颜朱的早凋；未知轩冕乐，但欲老渔樵——写未知轩冕乐、但欲老渔樵，写尽但欲老渔的樵。全词以感慨写思乡——那「欲涨冶城潮」写尽欲涨冶城的寒食泪，「但欲老渔樵」写尽但欲老渔的樵，写尽欲涨冶城的寒食泪与但欲老渔的樵，是理解王安石思乡诗的重要篇章。【名句点睛】常考「客思似杨柳，春风千万条」写春风千万的千万条；「未知轩冕乐，但欲老渔樵」写但欲老渔的樵；以及全诗以感慨写思乡、以比喻写思乡的手法。

Background

Wang Anshi (1021-1086), the statesman and the poet of the Song, wrote this 'The, Cold, Food, of, the, Year, of, the, Renchen' of the festival and the longing — the sorrow of the festival with the desire of the retirement. The longing of the willow with the tears of the Cold Food, the aging of the hair, and the close's the desire of the fishing and the woodcutting — the poem gathers the sorrow of the poet, the weariness of the office. The poem is one of the famous works of the poet's poems of the festival.

此诗写思乡，以感慨写思乡，是王安石的名篇。王安石（1021—1086），字介甫，号半山，抚州临川（今江西抚州）人，北宋政治家、文学家、思想家，官至宰相，主持熙宁变法，为「唐宋八大家」之一，世称「王荆公」。此诗为王安石寒食之作，写其客居思乡与功名之慨。王安石此诗写其壬辰年的寒食。此诗写客思似杨柳，春风千万条；更倾寒食泪，欲涨冶城潮；巾发雪争出，镜颜朱早凋；未知轩冕乐，但欲老渔樵。此诗写客思：「客思似杨柳，春风千万条」写客思似杨柳、春风千万条——写尽春风千万的千万条（客思似杨柳，春风千万条）；「更倾寒食泪，欲涨冶城潮」写更倾寒食泪、欲涨冶城潮——写尽欲涨冶城的寒食泪（更倾寒食泪，欲涨冶城潮）；「巾发雪争出，镜颜朱早凋」写巾发雪争出、镜颜朱早凋——写尽镜颜朱的早凋（巾发雪争出，镜颜朱早凋）；「未知轩冕乐，但欲老渔樵」写未知轩冕乐、但欲老渔樵——写尽但欲老渔的樵（未知轩冕乐，但欲老渔樵）。全诗以感慨写思乡，写尽欲涨冶城的寒食泪与但欲老渔的樵，是理解王安石思乡诗的重要篇章。

Art

The poem's art is the art of the longing. The willow opens: the, thoughts, of, the, guest, like, the, willow — the thoughts of the willow; the, spring, wind, ten, thousand, branches — the spring wind of the branches. The sorrow follows: more, pouring, the, tears, of, the, Cold, Food — the tears of the Cold Food; about, to, rise, the, tide, of, the, city, of, the, smelting — the tide of the city of the smelting; the, scarf, and, the, hair, the, snow, contending, forth — the snow of the scarf and the hair; the, mirror, face, the, vermilion, early, withering — the vermilion of the mirror face. And the close gathers the desire: not, knowing, the, joy, of, the, carriage, and, the, cap — the carriage and the cap of the not knowing; only, desiring, the, old, of, the, fishing, and, the, woodcutting — the old of the fishing and the woodcutting — the willow, the sorrow and the close's desire, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以比喻写客思。「客思似杨柳」以比喻写客思——那「春风千万条」写尽春风千万的千万条，以比喻写尽春风千万的千万条。其二，以夸张写乡泪。「更倾寒食泪」以夸张写乡泪——那「欲涨冶城潮」写尽欲涨冶城的寒食泪，以夸张写尽欲涨冶城的寒食泪。其三，以对比写衰老。「巾发雪争出」以对比写衰老——那「镜颜朱早凋」写尽镜颜朱的早凋，以对比写尽镜颜朱的早凋。其四，以直抒写归隐。「未知轩冕乐」以直抒写归隐——那「但欲老渔樵」写尽但欲老渔的樵，以直抒写尽但欲老渔的樵。此外，此诗前写欲涨冶城的寒食泪，后写但欲老渔的樵，由客思及归隐，正是思乡诗「以泪写思」的写法。四重手法，使此诗以感慨写思乡，写尽欲涨冶城的寒食泪与但欲老渔的樵，是王安石的代表作。又，此诗以「客思似杨柳」比喻起笔，杨柳千条正喻客思之纷繁无尽；「更倾寒食泪，欲涨冶城潮」以夸张写泪，谓寒食之泪欲涨冶城之潮，乡愁之深已到极致；中二联「巾发雪争出，镜颜朱早凋」对仗工整，以「雪」对「朱」、「出」对「凋」，白发与红颜相映，写尽客中衰老之速；末联以「轩冕乐」与「渔樵」对照，直抒归隐之志，正是王安石「精严之中见情真」的本色。

Allusions

'The Cold Food' (han shi) is the Cold Food — the festival of the Cold Food, the tears of the middle; 'the city of the smelting' (ye cheng) is the city of the smelting — the city of the smelting, the tide of the middle; 'the carriage and the cap' (xuan mian) are the carriage and the cap — the carriage and the cap of the office, the not knowing of the close.

此诗的用语深植于思乡与感慨传统。「客思」令人想到「客思」写客思的意象——也令人想到「客思渺难裁」的意象；「杨柳」令人想到「杨柳」写杨柳的意象——也令人想到「此夜曲中闻折柳」（李白）的意象；「春风」令人想到「春风」写春风的意象——也令人想到「春风又绿江南岸」（王安石）的意象；「千万条」令人想到「千万条」写千万的意象——也令人想到「丝条千万」的意象；「寒食泪」令人想到「寒食泪」写寒食的意象——也令人想到「寒食东风御柳斜」（韩翃）的意象；「冶城潮」令人想到「冶城潮」写冶城的意象——也令人想到「潮打空城寂寞回」（刘禹锡）的意象；「巾发」令人想到「巾发」写头巾发的意象——也令人想到「巾发雪白」的意象；「雪争出」令人想到「雪争出」写白发的意象——也令人想到「白发三千丈」（李白）的意象；「镜颜」令人想到「镜颜」写镜颜的意象——也令人想到「高堂明镜悲白发」（李白）的意象；「朱早凋」令人想到「朱早凋」写颜凋的意象——也令人想到「朱颜辞镜花辞树」的意象；「轩冕」令人想到「轩冕」写轩冕的意象——也令人想到「轩冕如浮云」的意象；「渔樵」令人想到「渔樵」写渔樵的意象——也令人想到「惯看秋月春风」的意象。全诗化用客思、杨柳、春风、千万条、寒食泪、冶城潮、巾发、雪争出、镜颜、朱早凋、轩冕、渔樵的意象，以感慨写思乡，正是王安石「精严」而善比喻、承杜甫传统写客思之本领。

Commentary

This poem is one of the famous works of Wang Anshi's poems of the festival, quoted for the sorrow of its middle and the desire of its close. The tears of the Cold Food, and the desire of the fishing and the woodcutting, are among the admired passages of the poet's poems. Critics praise the poem's longing: the festival gathered in the aging, to the close's desire.

此诗历来被推为王安石思乡诗的名篇，也是宋诗写寒食客思的代表。历代论者对此诗评价极高：宋人评此诗「以感慨写思乡，精严沉挚」；近人更指出「客思似杨柳，春风千万条」写春风千万的千万条，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以律诗写尽欲涨冶城的寒食泪与但欲老渔的樵——那客思，那似杨柳，那春风，那千万条，那更倾，那寒食泪，那欲涨，那冶城潮，那巾发，那雪争出，那镜颜，那朱早凋，那未知，那轩冕乐，那但欲，那老渔樵，都写尽了王安石笔下的壬辰寒食；那「但欲老渔樵」更以直抒写尽但欲老渔的樵。此诗与王安石《泊船瓜洲》「京口瓜洲一水间」同为客思名篇，一写「春风又绿江南岸，明月何时照我还」的泊船瓜洲，一写「更倾寒食泪，欲涨冶城潮」的壬辰寒食；一写春，一写寒食。两诗对读，可见王安石客思诗的两面。对于今日读者，此诗是理解王安石思乡诗的窗口，也是宋诗写寒食客思的经典——那但欲老渔的樵，穿越千年，仍在诉说着欲涨冶城的寒食泪。

Prosody

Form A regulated poem of the festival (wu yan lü shi)五言律诗

Rhyme The poem rhymes on the level of the group — the cadence of the regulated poem that carries the longing retirement.五律押「条」「潮」「凋」「樵」（平声萧肴韵），一韵到底

Tone pattern The cadence is that of the longing: the level opening with the willow, the turning with the sorrow, and the close's fall with the woodcutting.此诗为五言律诗，押平声韵，一韵到底，音节沉挚，正合思乡的沉挚。

Reading note The poem's sound matches its longing: the cadences of the regulated poem, and the close — 'dan yu lao yu qiao' — falls with the woodcutting, the sound of the desire of the festival poet.此诗为五言律诗——「客思似杨柳，春风千万条。更倾寒食泪，欲涨冶城潮。巾发雪争出，镜颜朱早凋。未知轩冕乐，但欲老渔樵」，押平韵（条、潮、凋、樵），一韵到底，音节沉挚。全诗以感慨写思乡：前写欲涨冶城的寒食泪（客思似杨柳、更倾寒食泪），后写但欲老渔的樵（巾发雪争出、未知轩冕乐）。律诗八句，前写客思，后写归隐，以「但欲老渔樵」写尽但欲老渔的樵，正见王安石「精严」的本色。诵读此诗，宜以沉挚的语调读「欲涨冶城潮」的乡泪，以低回的语调读「但欲老渔樵」的归隐，结句要读得沉挚而有余韵，方能传达出王安石的沉挚。王安石律诗以「精严」著称，此诗正是其思乡诗的典范。

Line by line

客思似杨柳，春风千万条

The, thoughts, of, the, guest, like, the, willow, the, spring, wind, ten, thousand, branches.

客思似杨柳，春风千万条。

The thoughts of a traveler are like willow trees; the spring wind blows ten thousand strands.

此二句是全诗写客思的核心，以客思似杨柳写似杨柳，以春风千万条写千万条，写尽春风千万的千万条，是千古名句。「客思似杨柳」写客思似杨柳——那「客思」写客思，「似杨柳」写似杨柳，写尽客思的似杨柳；「春风千万条」写春风千万条——那「春风」写春风，「千万条」写千万条，写尽春风的千万条。这句的深意在于：它以「客思似杨柳」的似杨柳与「春风千万条」的千万条，写尽春风千万的千万条——客思似杨柳，那「客思似杨柳」写尽客思的似杨柳——客思似杨柳，正是客思如柳的写照，那「似杨柳」写尽春风千万的千万条；春风千万条，那「春风千万条」写尽春风的千万条——春风千万条，正是柳丝千条的写照，那「千万条」写尽春风千万的千万条；那「客思似杨柳」写尽客思的似杨柳，那「春风千万条」写尽春风的千万条，一写似杨柳，一写千万条，写尽春风千万的千万条——客思如柳而柳丝千条，正是客思的写照；此二句以似杨柳、千万条写尽春风千万的千万条，也为下文的寒食泪作铺垫，也让此二句成为全诗写客思的核心与千古名句。若换作直说「客思像杨柳，在春风里垂下千万条」，则失其精警；唯以「客思似杨柳」写似杨柳、「春风千万条」写千万条，写尽春风千万的千万条，也让此二句成为全诗写客思的核心。

These two lines are the poem's core in writing traveler's thought, famous through the ages. The thoughts of a traveler are like willow trees: guest-thoughts-like-willows makes the longing itself a willow. The spring wind blows ten thousand strands: spring-wind-ten-thousand-strands writes the willow's strands stirred by the wind. The deeper pathos lies in the simile's doubling: the thought is a willow, and the willow's strands are the thought's strands - ten thousand of them, stirred by the spring wind. Wang Anshi was in Shanxi on Cold Food Day, visiting his parents' graves; the willow simile carries the homesickness and the grave-tending grief together. The ten-thousand-strands image makes the longing both numerous and delicate, like the willow itself. Compared with a plain saying my homesickness is like willow catkins in the spring wind, the willow-as-thought and the ten-thousand strands give the longing both form and multiplicity, making this the poem's core.

未知轩冕乐，但欲老渔樵

Not, knowing, the, joy, of, the, carriage, and, the, cap, only, desiring, the, old, of, the, fishing, and, the, woodcutting.

未知轩冕乐，但欲老渔樵。

I have not known the joy of carriage and cap; I only wish to grow old fishing and woodcutting.

此二句是全诗写归隐的核心，以未知轩冕乐写轩冕乐，以但欲老渔樵写渔樵，写尽但欲老渔的樵，是千古名句。「未知轩冕乐」写未知轩冕乐——那「未知」写未知，「轩冕乐」写轩冕乐，写尽未知的轩冕乐；「但欲老渔樵」写但欲老渔樵——那「但欲」写但欲，「老渔樵」写老渔樵，写尽但欲的老渔樵。这句的深意在于：它以「未知轩冕乐」的轩冕乐与「但欲老渔樵」的渔樵，写尽但欲老渔的樵——未知轩冕乐，那「未知轩冕乐」写尽未知的轩冕乐——未知轩冕乐，正是不知轩冕之乐的写照，那「轩冕乐」写尽但欲老渔的樵；但欲老渔樵，那「但欲老渔樵」写尽但欲的老渔樵——但欲老渔樵，正是愿老渔樵的写照，那「渔樵」写尽但欲老渔的樵；那「未知轩冕乐」写尽未知的轩冕乐，那「但欲老渔樵」写尽但欲的老渔樵，一写轩冕乐，一写渔樵，写尽但欲老渔的樵——不知轩冕之乐而愿老于渔樵，正是归隐的写照；此二句以轩冕乐、渔樵写尽但欲老渔的樵，也让此二句成为全诗写归隐的核心与千古名句。若换作直说「不知道轩冕的快乐，只想在渔樵中老去」，则失其沉挚；唯以「未知轩冕乐」写轩冕乐、「但欲老渔樵」写渔樵，写尽但欲老渔的樵，也让此二句成为全诗写归隐的核心。

These two lines are the poem's core in writing the wish to retire, famous through the ages. I have not known the joy of carriage and cap: not-known-carriage-and-cap writes that official glory has never been his joy. I only wish to grow old fishing and woodcutting: only-wish-grow-old-fishing-woodcutting states the retirement wish. The deeper pathos lies in the negative: he has not known office's joy, not merely renounced it; the wish to grow old by water and wood is the compensation for that unknowing. Wang Anshi, the great reformer, writes this Cold Food poem while in exile; the line is not a simple recluse's statement but a man who has held power saying that he has never found it joyful. Compared with a plain saying I don't care for office and want to retire to fishing, the not-known and the only-wish give the renunciation both resignation and depth, making this the poem's core.

Study

Word focus

涨 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「欲涨冶城潮」之「涨」字是写乡泪关键词，一个「涨」字写尽欲涨冶城的寒食泪。涨者，上涨、高涨也。王安石以「欲涨冶城潮」写乡泪，这个「涨」字至少有双重意味：其一，写泪之涨——那「更倾寒食泪，欲涨冶城潮」写更倾寒食泪、欲涨冶城潮，那「涨」字写尽欲涨冶城的寒食泪——欲涨，正是泪水欲涨的写照，那「涨」字写尽欲涨冶城的寒食泪；其二，写情之深——那「涨」字更是写深——涨，正见乡愁如潮的意味，那「涨」字写尽王安石的思乡。以「涨」字写乡泪，正是王安石写思乡的枢纽——若换作「满」「溢」等字，则或失其与「欲涨冶城潮」「更倾寒食泪」的配合，或失其写涨的意味；唯「涨」字，以欲涨冶城潮写尽泪水之汹涌与乡愁之如潮，与「更倾寒食泪」的寒食泪相合，写尽欲涨冶城的寒食泪，也让「欲涨冶城潮」成为全诗写乡泪的名句。

老 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「但欲老渔樵」之「老」字是写归隐关键词，一个「老」字写尽但欲的老渔樵。老者，终老、老去也。王安石以「但欲老渔樵」写归隐，这个「老」字至少有双重意味：其一，写身之老——那「但欲老渔樵」写但欲老渔樵，那「老」字写尽但欲的老渔樵——老渔樵，正是终老渔樵的写照，那「老」字写尽但欲的老渔樵；其二，写愿之深——那「老」字更是写深——老，正见归隐之志的意味，那「老」字写尽王安石的隐逸。以「老」字写归隐，正是王安石写思乡的枢纽——若换作「隐」「居」等字，则或失其与「但欲老渔樵」「未知轩冕乐」的配合，或失其写老的意味；唯「老」字，以但欲老渔樵写尽终老之愿与归隐之志，与「未知轩冕乐」的轩冕乐相合，写尽但欲的老渔樵，也让「但欲老渔樵」成为全诗写归隐的名句。