魏晋 Wei-Jin · 诗 Poem
拟古·其一
In the Ancient Manner, No. 1
鲁客事楚王，怀金袭丹素。
既荷主人恩，又蒙令姿顾。
嬿婉非只今，秾华若桃李。
皎洁在一方，繁华将安处。
滋兰尚未润，绿叶茂青葱。
攀蹊聊伫立，强言进行路。
gold in his breast, robed in red and white silk.
He has received his lord's kindness,
and won as well the glance of a lovely face.
Such tenderness is not of today alone;
this rich flowering is like peach and plum.
Pure and bright, he keeps to his own corner;
but where will all this splendour come to rest?
The orchids he nurtured are not yet watered,
though their green leaves grow thick and fresh.
Climbing the path, I pause a while and stand,
and force myself to say I will travel on.
Meaning
A travelling scholar from Lu serves the King of Chu, carrying gold and jade in his breast and dressed in robes of red and white silk. He has received his patron's favour, and has won as well the regard of a lovely face. This gentle affection is not the affair of today alone; its rich flowering is like peach and plum in bloom. Pure and unstained, he keeps to his own corner, and yet where is such splendour to find a resting place? The orchids he has planted are not yet watered, though their green leaves already grow thick and fresh. Climbing the mountain path, I stand still a while, and force myself to say that I shall travel on.
鲁地游士事奉楚王，怀藏金玉、身披丹素之衣。既承受了主人的恩惠，又蒙受佳人顾盼之姿。柔顺恩爱并非只在今日，繁华美盛如桃李盛开。清白皎洁独守一方，而这般荣华又将安身何处？滋兰之德尚未润泽，绿叶已茂盛青葱。我攀着山路暂且伫立，强作言语说要继续前行。全诗以男女遇合比况君臣知遇，表面写恩遇之隆、容色之盛，骨子里却写繁华难恃、见几远祸之忧，托喻遥深，是六朝拟古诗中「借古抒怀」的典型。
Appreciation
The piece opens in the plain expository manner of the rhapsody, and the first six lines set out the depth of the favour received and the fullness of the beauty enjoyed in a richly coloured diction. Then it turns sharply into doubt with 'Pure and bright, he keeps to his own corner; but where will all this splendour come to rest?', and closes with orchids still unwatered and a traveller forcing himself to speak of the road ahead. Throughout, comparison and evocation work on two levels at once: on the surface it is the meeting of man and woman, within it is the scholar's dread of choosing between service and retreat, so that a solitary chill shows through the ornament.
【白话串讲】 鲍照写一个鲁地的客人在楚王身边：“既荷主人恩，又蒙令姿顾”——受恩又得宠。可“皎洁在一方，繁华将安处”——洁身自好的人，繁华又能安放在哪里？ 【意象与手法】 诗以赋起兴承，前六句极写恩遇之隆、容色之盛，辞采秾丽；后六句陡然折入「皎洁在一方，繁华将安处」的疑虑，以滋兰未润、强言行路作结，情思幽深。通篇比兴双关，表面写男女遇合，内里寄士人出处之惧，于华美中见孤清，章法开阖有度。 【情感与主旨】 鲍照出身寒门，才华卓绝却久沉下僚，曾为临川王刘义庆国侍郎，又以辞章游于诸王之门。此《拟古》八首约作于宋文帝时，借拟古乐府以抒寒士的遇合之感与忧生之嗟。诗中以鲁客事楚王隐喻士之得遇明主，复以佳人顾盼写恩宠之盛，实是诗人对自身际遇的投射与对荣利难恃的警觉。 【名句点睛】 考点一：手法——全诗以男女恩遇比况君臣知遇，托喻双关；考点二：「繁华将安处」「强言进行路」所见的忧惧与勉强；考点三：以「滋兰」喻培植德行的《楚辞》传统。
Background
Bao Zhao came of a poor family; his gifts were outstanding, yet he remained long in minor posts, serving as attendant gentleman to Liu Yiqing, Prince of Linchuan, and moving among princely households on the strength of his writing. The eight poems 'In the Ancient Manner' date roughly from the reign of Emperor Wen of Song and use imitation of old yuefu to voice a poor scholar's feeling about patronage and his lament over an anxious life. The traveller from Lu serving the King of Chu figures the scholar who has found an enlightened lord, and the beauty's answering glance figures the fullness of favour; in truth both project the poet's own fortunes and his wariness that glory and gain cannot be relied upon.
《拟古》八首为南朝宋鲍照（约414—466）所作，此为其一。鲍照字明远，东海人，出身寒门庶族，是刘宋时代最杰出的诗人之一，与谢灵运、颜延之并称「元嘉三大家」，而门第最低、境遇最困。他少有才名，却因门第所限，久沉下僚，曾为临川王刘义庆国侍郎，后历衡阳王、始兴王诸府佐，又为秣陵令、中书舍人等职，一生以辞章游于诸王之门，依人作客、仰人鼻息，其《拟行路难》「对案不能食，拔剑击柱长叹息」「自古圣贤尽贫贱，何况我辈孤且直」即其寒士心态的写照。刘宋政局动荡，诸王争权、宗室相残，文帝元嘉末年的宫廷政变、孝武帝时期的猜忌诛戮，使仕于王门者如履薄冰。此《拟古》八首约作于宋文帝时（元嘉年间），借拟古乐府以抒寒士的遇合之感与忧生之嗟。此首以「鲁客事楚王」的游士隐喻士之得遇明主，以「佳人顾盼」写恩宠之盛，复以「繁华将安处」写荣利难恃的警觉——这正是鲍照「依人作客」处境的艺术投影：得遇是幸，而得遇之盛恰是危殆之始，今日之恩宠，即是明日之祸端。全诗于秾丽的辞采下，藏着寒士在权门周旋的惶恐与清醒，是六朝「咏怀」「拟古」传统中「托喻遥深」的典型。
Art
The poem opens and continues in the expository manner, the first six lines writing to the full the depth of favour and the splendour of beauty in a lush and coloured diction; the last six turn abruptly into the misgiving of 'Pure and bright, he keeps to his own corner; but where will all this splendour come to rest?', and end with orchids not yet watered and a forced word about travelling on, the feeling deep and hidden. Comparison and evocation run double throughout: on the surface the meeting of man and woman, within the scholar's fear of when to serve and when to withdraw, so that inside all the beauty a lonely coldness appears, and the structure opens and closes with fine measure.
此诗艺术上最突出的特色，是以男女遇合比况君臣知遇的比兴双关，与先扬后抑、由盛入忧的章法经营，是鲍照「才秀人微、辞采华茂」的典型。全诗十二句，前六句极力铺陈恩遇之隆、容色之盛：「鲁客事楚王，怀金袭丹素」写游士得遇——怀藏金玉、身披丹素之衣，华服金宝，见其被恩之厚；「既荷主人恩，又蒙令姿顾」写恩宠之两重——既承受主人的恩惠，又蒙受佳人（或喻主人所眷）的顾盼，恩遇与情好并写；「嬿婉非只今，秾华若桃李」写情好之深、容色之盛——柔顺恩爱并非一日，其美盛如桃李之繁，辞采秾丽，铺张扬厉，把「承恩」写得花团锦簇。后六句陡然折转：「皎洁在一方，繁华将安处」由盛入忧——清白皎洁者独守一方，而眼前繁华，终将安放何处？「繁华将安处」五字是全诗的转捩，如盛宴之中忽闻警钟，把恩宠的「盛」写成无常的「虚」；「滋兰尚未润，绿叶茂青葱」承忧写惧——兰之培植尚未见其德润，而绿叶已茂，盛极而衰之机已伏；「攀蹊聊伫立，强言进行路」以动作收束——攀着山路暂且伫立，强作言语说要继续前行，「强言」二字写尽身不由己的勉强。全诗前扬后抑、由秾入淡，铺陈愈盛，忧惧愈深，章法开阖有度，正见鲍照「以秾丽写忧生」的独特笔力。
Allusions
The traveller from Lu who serves the King of Chu quietly draws on Lu Zhonglian, or more generally on the wandering persuaders of the Warring States who served Chu, figuring the poor scholar who seeks a patron and finds his lord. Gold in the breast and robes of red and white silk rework the jewelled adornment of the 'Nine Declarations', where the speaker wears the bright moon and hangs precious jade at his belt. The nurturing of orchids comes from Qu Yuan's 'Encountering Sorrow', where the poet plants nine fields of orchid, and stands for the cultivation of virtue. Using the meeting of man and woman as a figure for the meeting of ruler and minister is the characteristic device of Six Dynasties imitation verse, whose lodged meaning reaches far.
此诗用典皆植根于《楚辞》与先秦游士传统，比兴双关、托喻遥深。「鲁客事楚王」用战国游士干谒之典：鲁地游士事奉楚王，如孔子厄于陈蔡而楚王欲用之，或如公仪休、禽滑釐等鲁人游仕他国，诗人以此隐喻寒士得遇明主、依人作客的处境——「客」字最堪玩味，写尽门客、幕僚的依附身份。「怀金袭丹素」化用《楚辞·九章·涉江》「被明月兮佩宝璐」的佩玉意象，金玉丹素皆华贵之饰，写被恩之厚，亦暗含《离骚》「高余冠之岌岌兮，长余佩之陆离」的自我修饰之意。「嬿婉」出《诗经·邶风·新台》「嬿婉之求」及《楚辞·九章·哀郢》「妒佳冶之芬芳兮，嫫母姣而自好」，本写女子和好之貌，此处以男女恩好喻君臣际遇，正是「托喻」的机关。「滋兰」出屈原《离骚》「余既滋兰之九畹兮，又树蕙之百亩」，本以培植兰蕙喻培养贤才、修养德行，鲍照用「滋兰尚未润」，写自己培德修能而尚未见润泽，暗含才未见用、德未见彰的怅惘。诸典皆从《楚辞》而来，一以贯之，以香草美人写士人出处，是六朝拟古「托喻遥深」的典型手法。
Commentary
Shen Deqian, in 'Sources of Ancient Poetry', said that Bao Zhao was like the five giants cleaving the mountain, opening men's hearts and eyes. Zhong Rong's 'Gradings of Poets' placed him in the middle rank, praising his skill at words that shape and depict things and his prizing of ingenious likeness. Later critics have generally taken 'In the Ancient Manner' and 'Imitations of the Hard Road to Travel' as his representative works, granting that with a poor scholar's brush he sounded a note both impassioned and profound.
此诗历来被视为鲍照「咏怀」「拟古」一脉的代表，历代评家多所推重。南朝钟嵘《诗品》列鲍照于中品，评其诗「善制形状写物之词」「贵尚巧似」，又谓其「得景阳之諔诡，含茂先之靡嫚」，即指其辞采之巧丽与情思之诡变，此诗前六句的秾丽铺陈正是「贵尚巧似」的体现；清人沈德潜《古诗源》评鲍照「如五丁凿山，开人心目」，又谓其乐府「声情激越」「高视一世」，此诗虽为拟古而自有寒士的骨力，非徒事摹拟者可比。近人论六朝诗，多以鲍照为「寒士文学」的开山——他的咏怀、拟古之作，第一次把寒门士人的压抑、惶恐与倔强写进诗歌，其「繁华将安处」的忧惧，正是「依人作客」者共有的心境。就诗史意义言，此诗上承阮籍《咏怀》的隐晦寄托、左思《咏史》的寒士郁愤，下开庾信《拟咏怀》、杜甫「同学少年多不贱」的感慨一脉；其以男女写君臣、以秾丽写忧生的手法，更成为后世「艳体托讽」的传统（如李商隐无题诗），可见鲍照此诗在「托喻」传统中的枢纽地位。
Prosody
Line by line
鲁客事楚王，怀金袭丹素。
A traveller from Lu serves the King of Chu, gold in his breast, robed in red and white silk.
鲁地游士事奉楚王，怀藏金玉、身披丹素之衣
A traveler from Lu serves the King of Chu, gold in his bosom, robed in red and white silk.
首二句起笔点题，以游士得遇写全诗「君臣遇合」的比兴之旨。「鲁客」即鲁地游士——鲁为周公封国，礼乐之乡，多出文士，游士干谒诸侯是战国习见之事，「客」字点出依附身份；「事楚王」写其得遇明主——事奉楚王，被收为门客，是寒士际遇的转机，暗喻鲍照自己以辞章游于诸王之门。二句的深意全在「怀金袭丹素」六字：「怀金」谓怀藏金玉，是财货之赐；「袭丹素」谓身披丹素之衣，丹为朱红、素为素白，皆华贵之色，「袭」字写衣之层层披着，见服之华美。怀金玉、披华衣，正是「被恩之厚」的具象化——主人待之厚，赐之丰，游士一身光鲜。然而这光鲜之下已伏危机：「客」的依附身份与「怀金袭丹素」的显赫形成微妙的反差——越是受宠的客，越是危险的客，为下文「繁华将安处」的忧惧预埋了伏笔，是典型的「以盛写忧」的起笔。
The opening two lines name the theme, using a traveler's good fortune for the poem's lord-vassal meeting bi-xing. A-traveler-from-Lu-serves-the-King-of-Chu: Lu is the land of rites and music, producing literary men; serving the king is the poor scholar's turning point, secretly comparing Bao Zhao himself serving princes through his writing. The deep meaning is in the gold-in-bosom-robed-in-red-and-white-silk six characters: gold means the gift of wealth; red-and-white-silk robes, red and white, both luxurious, worn in layers. Gold in the bosom, fine robes - the concrete of thick favor. Yet beneath this splendor lies danger: the guest's dependent status and the gold-and-robe splendor form a subtle contrast - the more favored the guest, the more dangerous the guest, preparing the later where-shall-splendor-find-a-home fear. This is the typical opening of using splendor to write worry.
既荷主人恩，又蒙令姿顾。
He has received his lord's kindness, and won as well the glance of a lovely face.
既承受主人的恩惠，又蒙受佳人顾盼之姿
He has received his lord's kindness, and won as well the glance of a lovely face.
此二句写恩宠之两重，是全诗「比兴双关」的关键，表面写男女、内里写君臣。「既荷主人恩」写承受主人（楚王，亦喻主子）的恩惠——「荷」字写承受、感戴，如荷重负又如荷恩泽，感恩与负担兼而有之；「又蒙令姿顾」写又蒙受美人的顾盼——「令姿」即美好之姿，代指主人所眷的佳人（或喻恩主进一步的垂青），「顾」字写回眸顾盼之态，含情脉脉。两句以「既……又……」递进，把恩宠写得双喜临门：既有实质的恩惠（金玉丹素），又有情意上的顾盼（令姿相顾），恩遇与情好并至。然而此二句的双关机关正在于此：在比兴的层面，主人之恩喻君上之遇，令姿之顾喻君恩之眷，二者并写，恩宠之隆达于极点；而「恩」之可「荷」（负担）、「顾」之无常（顾盼转瞬），又暗伏恩宠难恃的忧思，为下文「皎洁在一方，繁华将安处」的转捩预作铺垫，正是「写盛即所以写忧」的笔法。
These two lines write the double favor, the poem's bi-xing double-meaning key, on the surface man-woman, inside lord-vassal. He-has-received-his-lord's-kindness writes receiving the master's (King of Chu, also patron) favor; the receive character carries both gratitude and burden. And-won-as-well-the-glance-of-a-lovely-face writes receiving the beauty's gaze; lovely-face means the patron's favored beauty (or further patron's notice), gaze writes the affectionate glance. The two lines use both...and progression, making the favor double: substantive favor (gold, robes) and affectionate notice (beauty's gaze). The double-meaning mechanism is here: in bi-xing, the master's favor compares the lord's reception, the beauty's gaze compares the lord's grace; both written, the favor is at its peak. Yet the favor's burden and the gaze's impermanence secretly prepare the later pure-and-bright-where-shall-splendor-find-a-home turn. This is the method of writing splendor to write worry.
皎洁在一方，繁华将安处。
Pure and bright, I keep to one corner; where shall this splendor find a home?
清白皎洁独守一方，而这荣华又将安身何处
Pure and bright, I keep to one corner; where shall this splendor find a home?
此二句是全诗的转捩，由前六句的铺陈恩宠陡然折入忧惧，是全诗情感最深沉的所在。「皎洁在一方」写清白自守——「皎洁」以月之明、玉之洁喻品性之清，诗人自谓清白皎洁，独守一方，不与浊世同流；「繁华将安处」是全诗的警句——「繁华」指前文的金玉丹素、秾华桃李，即眼前的荣华恩宠，「将安处」三字以问句发之：这繁华终将安放何处？荣华能持续多久？恩宠归于何处？三字问得惊心，把恩宠之「盛」写成无常之「虚」：盛极必衰，繁华易散，今日的恩宠，正是明日祸患的种子。两句一守一忧、一静一动：皎洁是持守之道，繁华是无常之物，持守者与繁华相对，正是寒士在权门中的清醒——鲍照深知「依人作客」的荣华如沙上筑塔，随时倾覆，故于恩宠最盛之时，已生「安处」之忧。此二句是「先扬后抑」章法的枢纽，也是全诗「忧生」主题的正面揭示。
These two lines are the poem's turning, from the preceding six lines' favor description suddenly folding into fear, the poem's deepest emotion. Pure-and-bright-I-keep-to-one-corner writes the self-keeping of purity - pure uses moon's brightness and jade's cleanness for the character's purity, the poet claiming pure and bright, keeping to one corner, not joining the muddy world. Where-shall-this-splendor-find-a-home? is the poem's alert line: splendor refers to the preceding gold, red robes, and rich fruits - the present favor; where-shall-it-find-a-home? asks: where will this splendor ultimately lodge? How long will the favor last? The three-character question is shocking, writing the favor's splendor as impermanent void: extreme must decline, splendor easily scatters, today's favor is tomorrow's disaster seed. One line for keeping, one for worry; one stillness one motion: purity is the keeping way, splendor is the impermanent thing; the keeper set against splendor is the poor scholar's clarity in powerful gates. Bao Zhao knows the dependent-on-others splendor is like a tower on sand,随时 falling, hence at favor's peak already breeds the where-find-home worry. These two lines are the pivot of first-lift-then-suppress structure, and the positive revelation of the worry-of-life theme.
攀蹊聊伫立，强言进行路。
Climbing the path, I pause a while and stand, and force myself to say I will travel on.
攀着山路暂且伫立，强作言语说要继续前行
Climbing the path, I pause a while and stand, and force myself to say I will travel on.
结二句以动作收束，写尽身不由己的勉强，是全诗最见神韵的一笔，也是「忧生」主题的最终落实。「攀蹊聊伫立」写攀着山路暂且驻足——「攀蹊」写山路之艰，攀援而上，前路难行；「聊伫立」写暂且伫立，「聊」字写姑且、暂且之意，见其徘徊不进；「强言进行路」写强作言语说要继续前行——「强言」二字是全诗的诗眼：不是真心想走，而是不得不走，勉强地说着「走罢走罢」，脚步却迟疑难移。此二句的深意在于「强」字：鲍照在权门周旋，如攀山路，明知繁华难恃、前路险恶，却不能不走——寒士的出路只有依附权门，纵然知其危殆，也只得「强言进行路」；「聊伫立」的停顿与「强言行」的勉强，把进退两难的心态写得如在目前。全诗以秾丽的铺陈起、以勉强的脚步收，由盛入忧、由忧入惧，结句的「强」字如一声叹息，言有尽而意无穷，正见鲍照「以秾丽写忧生」的独特笔力。
The closing two lines resolve in action, exhausting the body's-not-own constraint, the poem's most spirit-transmitting stroke, the worry-of-life theme's final landing. Climbing-the-path-I-pause-a-while-and-stand writes pausing on the mountain path; climbing-writes the steep path, ahead hard; pause-a-while writes the standing; the pause character writes the hesitation. Force-myself-to-say-I-will-travel-on writes forcing the words to continue; force-say is the poem's eye: not truly wanting to go, but having to go, forcing the words let us go while the feet hesitate. The deep meaning is the force character: Bao Zhao moves in powerful gates like climbing a mountain path, knowing splendor cannot be trusted and the road is dangerous, yet cannot stop - the poor scholar's only way is dependence on powerful gates; even knowing the danger, he must force himself to go. The pause's stopping and the forced-going's reluctance write the进退两难 state vividly. The poem opens with rich description and closes on forced steps, from splendor to worry to fear; the closing force character is a sigh, words ended yet meaning endless - this is Bao Zhao's unique power of using richness to write worry-of-life.
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Both sing of gifts that go unused; Zuo Si writes the pent-up anger of the poor scholar, Bao Zhao the anxiety of patronage, and together they show the Six Dynasties tradition of singing one's own heart.
左思《咏史·其二》「郁郁涧底松，离离山上苗。以彼径寸茎，荫此百尺条。世胄蹑高位，英俊沉下僚」与此诗同出寒士之手，同写门第制度下寒士的困境，而侧重有别：左思以「涧底松」与「山上苗」的倒悬之喻，直斥「世胄蹑高位，英俊沉下僚」的不公，郁愤激越，是「愤」的极致；鲍照以「鲁客事楚王」的遇合之喻，写恩宠之盛与繁华之忧，清醒警惧，是「忧」的极致。一写「不得遇」之愤（松沉涧底），一写「得遇」之忧（繁华难恃）；一以松苗之喻写社会之不公，一以男女之喻写权门之危殆。二诗并读，可见六朝寒士文学的两种心态——左思的郁愤与鲍照的忧惧，亦可比较二家一「质直」一「秾丽」的不同风格，皆为寒士吐气之作。
咏怀·其一 Songs of My Heart 阮籍 · 同以隐晦寄托写忧生之嗟，一浑沦一秾丽，风格各异而同擅比兴 Different (manner)Both lodge deep meaning; Ruan Ji is veiled and remote, Bao Zhao lush and direct, different in style yet both masters of comparison and evocation.
阮籍《咏怀·其一》「夜中不能寐，起坐弹鸣琴」与此诗同属魏晋六朝「咏怀」「拟古」一脉，同以隐晦的比兴寄托写忧生之嗟，而面目迥异：阮籍以「孤鸿号外野」的荒寒意象写深不可测的忧思，语言浑沦玄远，如雾里看花，寄慨遥深而难觅其旨；鲍照以「怀金袭丹素」「秾华若桃李」的华美意象写恩宠无常的警觉，语言秾丽明确，如锦上绣刺，托喻可寻而情思分明。一为玄学家的忧生（畏祸避害、不可言说），一为寒士的忧生（依人作客、进退两难）；一隐晦、一显豁，一玄远、一质实。二诗并读，可见正始之音到元嘉体的演变——由阮籍的「玄」到鲍照的「丽」，忧生之嗟在不同的时代语境中有不同的面目，而「以比兴写忧」的传统一脉相承。
七步诗 Poem Written in Seven Paces 曹植 · 同写才士处境之危，一以萁豆相煎明急一以繁华难安寄惧 Same (the peril of the gifted)Both write the danger in which the talented stand; Cao Zhi makes it urgent with beanstalks burning beans, Bao Zhao lodges his fear in splendour that cannot last.
曹植《七步诗》「煮豆持作羹，漉豉以为汁。萁在釜下燃，豆在釜中泣。本自同根生，相煎何太急」与此诗同写才士在权力场中的危殆处境，而取喻与情调有别：曹植以「萁豆相煎」写同室操戈的急迫，取喻于厨房之炊，明白如话，直呼「相煎何太急」，是「明」的警告，情调激切；鲍照以「繁华将安处」写荣宠难恃的忧惧，取喻于男女遇合，秾丽含蓄，以问句发「将安处」之疑，是「隐」的警觉，情调低沉。一写亲情之痛（同根相煎），一写恩宠之忧（繁华难安）；一出于宗室之嫡（曹植为魏王之子），一出于寒门之客（鲍照为诸王门客），身份不同，忧惧各异。二诗并读，可见魏晋六朝才士在权力场中的共同处境，亦可比较「明喻」与「托喻」、「激切」与「掩抑」两种写法的差异。