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魏晋 Wei-Jin · 诗 Poem

赴洛道中作

On the Road to Luoyang

陆机

Lu Ji

离别Parting 忧愤Theme 感时Theme 抒情Emotion

总辔登长路，呜咽辞密亲。
借问子何之，世网婴我身。
永叹遵北渚，遗思结南津。
行行遂已远，野途旷无人。
山泽纷纡余，林薄杳阡眠。
虎啸深谷底，鸡鸣高树巅。
哀风中夜流，孤兽更我前。
悲情触物感，沉思郁缠绵。
伫立望故乡，顾影凄自怜。
远游越山川，山川修且广。
振策陟崇丘，安辔遵平莽。
夕息抱影寐，朝徂衔思往。
顿辔倚嵩岩，侧听悲风响。
清露坠素辉，明月一何朗。
抚枕不能寐，振衣独长想。

I grip the reins and mount the long road ahead,
Sobbing, I part from my dear ones with dread.
You ask me, where is it you go?
The net of the world ensnares me, you know.
I sigh as I follow the northern shore,
My lingering thoughts knot at the southern ford.
On and on I go, already far,
The wild path is vast, without a soul.
Hills and streams wind and twist in confusion,
Thickets and woods stretch dark and dense.
Tigers roar at the bottom of deep valleys,
Cocks crow on the tops of tall trees.
A mournful wind flows in the middle of the night,
A lonely beast crosses my path in fright.
My sorrowful feelings are stirred by things I see,
Deep thoughts gloomily entwine me.
I stand still and gaze toward my hometown,
Looking at my shadow, I pity myself alone.

Traveling far, I cross hills and streams,
Hills and streams are long and vast.
I whip my horse to climb a high mound,
Then slacken the reins over level ground.
At night I rest, hugging my shadow to sleep,
At dawn I go, carrying my sorrow deep.
I halt the reins and lean on a lofty cliff,
Listening to the mournful wind's drift.
Clear dew falls in white radiance,
The bright moon shines with such brilliance.
I touch my pillow, unable to sleep,
I shake my clothes and alone I think deep.

Listen

Meaning

This pair of poems describes the poet's journey to Luoyang after leaving his hometown. He expresses deep sorrow at parting from family and anxiety about an uncertain future. The desolate landscape and lonely nights mirror his inner grief.

勒紧缰绳登上漫长的道路，呜咽着辞别至亲。借问你将往何处？尘世之网缠住了我的身。长叹沿着北渚而行，遗恨凝结在南津。走啊走，已经越走越远，旷野的道路上空无一人。山泽纡曲纷错，林莽幽暗连绵。虎啸于深谷之底，鸡鸣于高树之巅。哀风在半夜流荡，孤兽行走在我的面前。悲情触物而生，沉思郁结缠绵。久久伫立遥望故乡，顾影自怜，凄凉无限。远游越过重重山川，山川修长而广远。挥鞭登上高丘，按辔行经平旷的原野。夜晚歇息抱着影子入睡，清晨出发衔着悲思前往。停下马辔倚着高岩，侧耳倾听悲风作响。清露坠落洒下素辉，明月何等明朗。抚着枕头不能成寐，披衣起身独自长想。

Appreciation

A representative work of the Taikang period, these poems skillfully blend scenery with emotion. They use vivid imagery—the roaring tiger, the crowing cock, the mournful wind, and the lonely beast—to convey the poet's melancholy.

【白话串讲】陆机告别亲人赴洛阳，一路走一路回头。“哀风中夜流，孤兽更我前”——半夜的风声，前面的孤兽。一个东吴贵族在乱世里被迫远行，孤独写在每一条路上。【意象与手法】组诗以羁旅为脉，融景入情。其一写日间辞亲远行，「虎啸深谷底，鸡鸣高树巅」以视听对举写途野荒寒；「哀风中夜流，孤兽更我前」以孤兽自况，悲凉逼人。其二写夜宿晨发，「夕息抱影寐」「清露坠素辉，明月一何朗」于清朗中见孤寂。全诗善以秋野萧瑟之物象烘托离忧，情融于景，对仗渐趋工整，开谢灵运、谢朓行旅诗先声。【情感与主旨】陆机与弟陆云于太康末应诏入洛，告别故乡吴郡，此诗即写赴洛阳途中所见所感。时西晋初统一，吴地士人北仕每遭猜忌，陆机心怀去国离乡、前途未卜之忧。诗中「世网婴我身」「悲情触物感」正写出被迫入洛、身不由己的怅惘，是太康诗抒情写物之代表。【名句点睛】常考景物描写对情感的烘托。考点一：分析「虎啸深谷底，鸡鸣高树巅」「哀风中夜流，孤兽更我前」如何以景写哀；考点二：「世网婴我身」之「婴」字如何写身不由己；考点三：组诗两首的结构安排与「清露坠素辉，明月一何朗」以乐景写哀的反衬手法。

Background

Lu Ji and his brother Lu Yun were summoned to Luoyang at the end of the Taikang reign (late 3rd century). They left their hometown in Wu commandery (present-day Suzhou). At that time, the Western Jin had just unified China, and scholars from the former Wu region often faced suspicion when serving in the north. Lu Ji was filled with anxiety about leaving his homeland and an uncertain future.

陆机（二六一至三〇三），字士衡，吴郡吴县（今江苏苏州）人，孙吴丞相陆逊之孙、大司马陆抗之子。吴亡后，他与弟陆云退居旧里，闭门勤学十年，太康末（约二八九年前后）应晋武帝诏令入洛阳，此诗即写赴洛途中所见所感。时西晋初统一天下，吴地士人北仕每遭中原士族猜忌，「二陆入洛，三张减价」之语既见其才名之盛，亦见其处境之艰。陆机心怀去国离乡、前途未卜之忧：故国已亡，旧土难归，而新朝恩遇未可知，故诗中「世网婴我身」「悲情触物感」写尽被迫入洛、身不由己的怅惘。陆机后仕至平原内史、后将军，终在八王之乱中受谗遇害，年四十三，此诗的忧生之嗟竟成谶语。此诗为太康诗抒情写物之代表，开六朝行旅诗与山水诗之先声。就诗史位置而言，此诗作于太康诗风确立之际。太康诗人以潘岳、陆机为代表，讲究辞采、骈偶与体物，陆机此诗既具「举体华美」的辞采，又能以情驭景、情辞相称，遂成太康抒情诗的代表。诗中「呜咽辞密亲」「顾影凄自怜」等句，把吴亡之后江南士人北仕的复杂心境写得真切无伪，是研究西晋初年南北士人关系与陆机个人遭际的第一手材料，其史料价值与文学价值并重。

Art

The pair of poems uses the journey as a thread, blending scenery with emotion. The first poem depicts leaving family during the day, with lines like 'Tigers roar at the bottom of deep valleys, cocks crow on the tops of tall trees' creating a sense of desolation. The second describes a night's rest, with 'Clear dew falls in white radiance, the bright moon shines with such brilliance' contrasting the clarity of the moon with the poet's loneliness. The whole poem skillfully uses the bleak autumnal landscape to set off the sorrow of parting, pioneering the travel poetry of Xie Lingyun and Xie Tiao.

组诗两首以「行」为脉络，其一写日间辞亲登程，其二写夜宿晨发，昼夜交替、情景互映。其一由「总辔登长路，呜咽辞密亲」直起，点明辞亲；中段铺写途中景物，「山泽纷纡余，林薄杳阡眠」写空间的纡曲幽深，「虎啸深谷底，鸡鸣高树巅」以虎之啸、鸡之鸣对举，视听并作，写尽途野的荒寒萧瑟；「哀风中夜流，孤兽更我前」以孤兽自况，悲凉逼人；结以「伫立望故乡，顾影凄自怜」，望乡之情点醒全篇。其二写「远游越山川」的征程，「夕息抱影寐，朝徂衔思往」写独宿独行的昼夜循环，「清露坠素辉，明月一何朗」以清朗夜景反衬孤寂，结以「抚枕不能寐，振衣独长想」，余味悠长。全诗善以秋野萧瑟之物象烘托离忧，情融于景，对仗渐趋工整，体现太康诗尚俪偶的风气，而情辞相称，不流于堆砌。通观两首，其章法又有一个显著特点，即以时间与空间的双重推进组织全篇：时间上由清晨辞亲、日暮行野、中夜悲风到月夜难寐，空间上由家门、津渚、野途、深谷、高树到嵩岩、平莽，时空交织，使羁旅之苦获得立体的呈现。诗中景物皆着悲色，哀风、孤兽、悲风，句句写景而句句含情，正是「悲情触物感」的展开。两首之间又以「行行遂已远」与「远游越山川」遥遥呼应，一写渐行渐远之惧，一写山川修广之叹，组诗的结构因此严整而不板滞，可见陆机谋篇之工。

Allusions

'World net' (世网) is a metaphor for worldly entanglements and official burdens, derived from Zhuangzi's 'heavenly net' and Han poems about fearing the net. 'Reining in' (总辔), 'whip' (振策), and 'slacken reins' (安辔) are travel carriage allusions from the Chu Ci. 'Carrying sorrow' (衔思) uses the structure of 'carrying grief' to depict sorrow as something held in the mouth, hard to release.

「世网」喻尘俗羁绊、仕宦之累，袭用《庄子》「天网恢恢」之网罟之喻及汉乐府「人生一世，但当畏网罗」之意，以网写身不由己，正见入洛非本愿之痛。「总辔」「振策」「安辔」「顿辔」皆行旅车马之语，出《楚辞·离骚》「总余辔乎扶桑」「策驽马」等句，以御马之态写行役之劳，雅而有据。「衔思」化用「衔哀」结构，以「衔」状悲思如含于口，难释难弃，炼字沉郁。「虎啸深谷底，鸡鸣高树巅」则暗合《楚辞·招隐士》「虎豹斗兮熊罴咆」的荒寒之境，而更见工整。陆机用典的自然之处在于以典助情、以典写景，不碍情畅，正其「才高词赡，举体华美」而情辞相称之证。另须注意的是诗中「密亲」一词，写辞别之人的至亲关系，「密」字见亲情之笃，与后文「顾影凄自怜」的孤影相对照，一亲一孤，愈见离别之痛。「北渚」「南津」皆水路地名，暗含此行由南而北的方向感，与「赴洛」之题相扣，非泛设之语。全诗用典多取楚辞、汉乐府一路，雅而不僻，与旅途的实景实情水乳交融，正见陆机以典助情之能事。后世论太康诗病在繁缛，而此诗辞采虽赡、情意弥真，可作反证。

Commentary

Zhong Rong's 'Classification of Poets' ranks Lu Ji's poetry as top grade, praising his 'talent and rich diction.' Hu Yinglin of the Ming dynasty called these poems 'both emotional and literary, a masterpiece of the Taikang period.' Shen Deqian of the Qing dynasty noted, 'Lu Ji's poetry is great, but in terms of spirit it falls short of Ruan Ji; in describing objects, it opens the way for Xie Tiao.'

钟嵘《诗品》列陆机诗为上品，谓「才高词赡，举体华美」，又言「陆机为太康之英，安仁、景阳为辅」，推为太康诗坛之首。明胡应麟《诗薮》称《赴洛道中》「情文并茂，太康之杰」；清沈德潜《古诗源》评「士衡诗亦推大家，以气机论，不如步兵；以体物论，则开小谢之先」，既肯定其体物写景的开拓之功，也指出其气格不及阮籍。此诗写羁旅之情真切无伪，写景体物精工入微，为六朝行旅诗与山水诗之先导，谢灵运、谢朓一脉实承其体物之功；其以景写哀、情融于景的手法，亦启后世羁旅行役诗之端绪。再就其情感内核言之，此诗之悲不独在离别，更在身世：吴亡国破，故土难归，而北仕新朝又前途未卜，诗中「世网婴我身」的「婴」字，实已写出士人面对政治罗网的普遍困境。陆机后来卷入八王之乱、身死谗言，回看此诗「顾影凄自怜」「抚枕不能寐」之句，几成谶语，读之尤觉沉痛。此诗因此超越了寻常的行旅题材，而具有士人命运书写的深度，与阮籍《咏怀》的忧生之嗟异代同悲，是魏晋士人精神史上一份真切的心灵记录。

Prosody

Form Five-character old-style poem (two pieces)五言古诗（《赴洛道中作》二首）

Rhyme Old style, free rhyme changes古体换韵：其一押平声真先部（亲、身、津、人、眠、巅、前、绵、怜），其二押上声养韵（广、莽、往、响、朗、想）

Tone pattern Old style, does not follow modern tonal patterns古体不究近体平仄，然对仗句渐多，节奏整饬而气脉流畅

Reading note Representative of the Taikang poetry circle, good at describing objects and expressing emotions, pioneering the Six Dynasties travel poetry.此诗为五言古体，组诗两首，首句不入韵。其一押平声韵，韵脚亲、身、津、人、眠、巅、前、绵、怜皆属古韵真先部，平声长韵，声情低回绵邈，正合辞亲远行、悲思绵绵之情；其二押上声养韵，韵脚广、莽、往、响、朗、想皆仄声，短促郁结，正合夜宿难寐、沉思郁结之态——两首一平一仄，声情与内容相表里，可见陆机以韵助情的用心。体制上虽为古体、不绳近体平仄，但诗中「山泽纷纡余，林薄杳阡眠」「虎啸深谷底，鸡鸣高树巅」「夕息抱影寐，朝徂衔思往」「清露坠素辉，明月一何朗」等联对仗已极工整，体现了太康诗尚俪偶的风气。陆机以骈俪之辞写真情，情辞相称，遂为此体开六朝行旅诗之先声，谢灵运、谢朓一脉皆承其体物写情之功，此诗的格律史意义正在于古体向骈俪化过渡的枢纽位置。

Line by line

借问子何之，世网婴我身

You ask me where I'm going? The net of the world entangles my body—this line reveals the poet's reluctant departure, forced by official duties. 'Ying' (entangle) highlights his helplessness.

借问你将往何处？尘世之网缠住了我的身。

Ask, where are you bound? The world's net entangles my body.

此二句点出全诗之枢机。「借问子何之」以设问自问自答，问得突兀，正见行役之人心中那一份茫然与不甘；「世网婴我身」作答，答得沉痛——不是我愿去，是尘网缠身、身不由己。「婴」即缠绕、羁绊，以网写仕宦之累，把入洛之行说成被缚之行，去国之悲、前途之忧尽在其中。两句一问一答，把被迫远行的无奈写得斩钉截铁，是理解全诗情感基调的钥匙，亦见陆机炼字之精：一个「婴」字，胜过千言万语的牢骚。

These two lines name the poem's pivot. Ask, where are you bound? uses a self-question, abrupt, showing the traveler's bewilderment and unwillingness. The world's net entangles my body answers in grief: I do not wish to go, but the world's net binds me, body not my own. Entangle means bind; the net metaphorizes officialdom's toil, making the journey to Luoyang a bound journey, the grief of leaving home and worry over the future all in it. The question-and-answer states the forced journey's helplessness decisively, the key to the poem's emotional tone, showing Lu Ji's word-refining: one entangle character outdoes a thousand words of complaint.

虎啸深谷底，鸡鸣高树巅

Tigers roar at the bottom of deep valleys, cocks crow on the tops of tall trees—contrasting sounds in a desolate landscape create a sense of wildness and solitude, evoking the poet's loneliness.

虎啸于深谷之底，鸡鸣于高树之巅。

A tiger roars from the deep valley bottom; a cock crows from the high tree top.

此联以视听对举写途野荒寒，是太康体物之名句。虎啸自深谷之底而来，低沉而怖；鸡鸣自高树之巅而发，孤清而远，一上一下、一猛一微，以两种声音撑起荒野的立体空间，写出日暮途穷、四野无人之境。虎为猛兽，鸡为家禽，本不相类，此处并置，正见旅途由村野入深山、由人烟入荒莽的递进。声音的描写尤见功力：不写所见，只写所闻，以声写境、以境写情，荒寒之景与孤危之心互为表里，为下文「哀风」「孤兽」的悲凉蓄势。

This couplet uses sound and sight for the wild cold, the Taikang period's famous object-writing line. A tiger roars from the deep valley bottom is low and frightening; a cock crows from the high tree top is lonely and far. One up, one down, one fierce, one small - two sounds hold up the wilderness's three-dimensional space, writing the dusk-end, empty-fields scene. Tiger is a beast, cock is a fowl; juxtaposed here, the journey's progression from village to deep mountain, from human to wild. The sound-writing is masterful: not sight, only hearing; sound writes scene, scene writes feeling, the cold wilderness and the lonely heart are inside and outside. This prepares the sad wind and lone beast to follow.

哀风中夜流，孤兽更我前

A mournful wind flows in the middle of the night, a lonely beast crosses my path—the lonely beast mirrors the poet's own solitary journey, intensifying the pathos.

哀风在半夜流荡，孤兽行走在我的面前。

A sad wind flows through midnight; a lone beast crosses before me.

此联以孤兽自况，是全诗悲凉之极处。「哀风中夜流」写半夜的风，着一「哀」字，风声即心声，风本无情，因旅人听之而哀；「流」字写风之无定向、无止息，正如行役之人的漂泊。「孤兽更我前」写一头孤兽横过我前，「更」即经过、更替，孤兽之独行，恰是旅人自身的投影——兽孤而人亦孤，人兽同悲。两句由远而近，由风之哀到兽之孤，把旅途的孤独推至顶点，悲情触物、物皆含悲，正是「悲情触物感」的具象呈现，读之令人凄然。

This couplet uses the lone beast for self-comparison, the poem's extreme grief. A sad wind flows through midnight: the sad character makes the wind's sound the heart's sound - wind is heartless, yet the traveler hears it sad. Flow writes the wind's directionless, ceaseless motion, like the traveler's drifting. A lone beast crosses before me: cross means pass; the lone beast's solitary crossing is the traveler's own projection - beast lone, man lone, both in grief. The two lines move from far to near, from wind's sadness to beast's loneliness, pushing the journey's solitude to the peak; grief touches things, all things hold grief. This is the concrete presentation of grief-touching-things, moving the reader to desolation.

清露坠素辉，明月一何朗

Clear dew falls in white radiance, the bright moon shines with such brilliance—the bright, clear night contrasts with the poet's inner gloom, using a happy scene to express sadness (le jing xie ai).

清露坠落洒下素辉，明月何等明朗。

Clear dew falls in white radiance; how bright the bright moon!

此联写夜宿所见，以乐景写哀情。「清露坠素辉」写露珠滴落、在月光中泛起素白的光辉，「坠」字以动写静，写出夜的幽静与露的清凉；「明月一何朗」写月色之皎洁明朗，「一何」是感叹之辞，赞月之朗，更叹己之独。月色越明，四野越清，独宿之人越无处藏身；清辉满地，却照不亮归途，也照不暖孤心。此联的妙处正在以澄明之景反衬郁结之情，明丽与凄清相激，哀感愈深。与「夕息抱影寐」合观，月之朗与影之孤，正是此夜此人最鲜明的对照。

This couplet writes the night lodging's sight, using bright scenery for sad feeling. Clear dew falls in white radiance writes the dew dropping, shining white in moonlight; drop uses motion for stillness, writing the night's quiet and the dew's coolness. How bright the bright moon! writes the moonlight's clarity; how is the exclamation, praising the moon's brightness yet sighing one's solitude. The brighter the moon, the clearer the fields, the more the solitary sleeper has nowhere to hide; clear light covers the ground, yet cannot light the road home, cannot warm the lonely heart. The couplet's subtlety is the clear scene set against the blocked feeling - brightness and desolation stir each other, grief deepened. Read with the following I sleep embracing my shadow, the moon's brightness and the shadow's loneliness are the sharpest contrast of this night, this man.

抚枕不能寐，振衣独长想

I touch my pillow, unable to sleep; I shake my clothes and alone I think deep—the sleepless night ends with the poet lost in thought, leaving a lingering melancholy.

抚着枕头不能成寐，披衣起身独自长想。

I press the pillow, unable to sleep; I shake my robe and sit up alone, long thinking.

结句以失眠长想收束全诗，余味悠长。「抚枕不能寐」写辗转反侧之态，「抚」字见出心绪之烦乱，枕在手下而眠不成；「振衣独长想」写披衣而起、独坐凝思，「振衣」本是整衣的动作，此处却有振衣而起、决然独处的意味，「独」字与「长想」相连，把千头万绪的乡思、身世之感、前途之忧统统收进那一声无言的叹息里。全诗由白日的辞亲、黄昏的荒景、半夜的哀风孤兽，写到月夜的难寐长想，时间流转而悲情不断，结句不着一悲字而悲意自深，正是陆机「举体华美」之外情韵悠长之处。

The closing line uses sleepless long thought to close the poem, lasting aftertaste. I press the pillow, unable to sleep writes the tossing; press writes the heart's disorder, the pillow under the hand yet no sleep. I shake my robe and sit up alone, long thinking: shake-robe is the action of dressing, yet here it carries the sense of rising decisively to solitude; alone and long-thinking together gather the thousand strands of homesickness, life-fate, future-worry into one wordless sigh. The poem moves from daytime's parting from kin, dusk's wild scene, midnight's sad wind and lone beast, to the moonlit sleeplessness; time flows and grief continues; the closing line does not write one grief word yet grief is deep - this is Lu Ji's lasting charm beyond his ornate surface.

Study

Word focus

婴 Entangle, fetter – in 'the world net entangles my body', expresses the poet's helplessness against worldly bonds. 「世网婴我身」之「婴」即缠绕、羁绊之意，是全诗最沉痛的一个字。婴本义为颈饰、围绕，引申为缠缚，此处以「世网婴我身」写仕宦之累如网罗缠身，逃无可逃。若作「世网缚我身」「世网牵我身」，皆只写出被动；「婴」字则兼含缠绕之密、束缚之紧，如丝如网，越想挣脱越陷越深。此字一出，入洛之行便不再是主动的赴任，而是身不由己的受缚，去国之悲、前途之忧、故土之恋尽凝于一字。与下文「悲情触物感」的「触」字对看，一写身之受缚、一写情之被动，正见陆机对自身处境清醒而无奈的体认。

更 Pass by, cross – in 'a lonely beast crosses my path', the beast's solitary movement mirrors the poet's lonely journey. 「孤兽更我前」之「更」意为经过、更替，是此句的诗眼。孤兽横过旅人之前，本可用「过」「经」，「更」字之妙在双关：既写兽之经过，又暗含「更替」「更迭」之意——兽行我前，随即隐入荒野，正如旅途中一个又一个擦肩而过的身影，无一可依、无一可留。着一「更」字，孤兽的独行与旅人的独行便叠印在一起，兽之孤即人之孤，人兽同悲，而时间也在「更」字中流逝，悲凉之感遂从空间弥漫到时间。此字看似寻常，实则沉郁，是陆机炼字以助情的典型。

衔 Carry in mouth – in 'carrying sorrow' (衔思), depicts sorrow as something held in the mouth, hard to spit out or release. 「朝徂衔思往」之「衔」字，写悲思如含于口、难释难弃，炼字极为沉郁。衔本指马口所含之嚼（衔辔），引申为含、怀，此处以「衔思」状清晨出发时仍把昨夜的悲思含在心头，随行随在，挥之不去。与「夕息抱影寐」对看，一「抱」一「衔」，夜则抱影而眠，昼则衔思而行，昼夜之间，孤独与悲思竟无一刻可脱。若作「怀思」「含思」，皆嫌泛；「衔」字因马具之联想而与行旅之题暗合，且「衔」有噤口不言之意，正见旅人把千般愁绪默默吞下、独自承受的情态，炼字之精，于此可见。