魏晋 Wei-Jin · 诗 Poem
饮酒·其七
Drinking Wine, No. 7
秋菊有佳色，裛露掇其英。
泛此忘忧物，远我遗世情。
一觞虽独进，杯尽壶自倾。
日入群动息，归鸟趋林鸣。
啸傲东轩下，聊复得此生。
dew-drenched, I pluck their petals.
I float them on this thing that drowns all care,
and set my world-forsaking heart still further off.
One cup, though I drink it alone;
the cup drained, the pot tilts of itself.
The sun goes down, the stirring throng grows still;
homing birds hasten to the woods and call.
Beneath the eastern window I whistle proudly,
and find, for now, this life enough.
Meaning
The autumn chrysanthemums are opening in a pure and lovely colour, and I pick their petals while the dew still clings to them. I float them in this wine that makes a man forget his cares, and let my heart, already set apart from the world, drift further still from it. Though I pour this cup for myself alone, when the cup is drained the pot tips over of its own accord. The sun goes down, and all the day's stirring and clamour subside; birds returning to their nests race toward the woods and call. Beneath the eastern window I whistle long and stand proudly at ease, content, for now, to live out this life just so.
秋菊绽放着清雅的姿色，我带着露水采下它的花瓣。斟饮这使人忘忧的美酒，让超然物外、遗弃尘世的心绪渐渐远离。这一杯酒虽是独自斟饮，杯尽壶空，便任它自行倾尽。太阳落山，万物的喧嚣都归于沉寂，归巢的飞鸟竞相飞向林中啼鸣。我在东窗之下长啸放歌、傲然自得，姑且就这样安度此生。
Appreciation
The poem opens by borrowing the autumn chrysanthemum as its evocative image: the poet picks the dew-wet petals, and self and thing melt into each other. 'I float them on this thing that drowns all care' quietly draws on the old question of how sorrow may be forgotten, so that the theme is struck without effort. The four middle lines move from gathering flowers and drinking alone to the sun's setting and the homing birds, motion and stillness breeding one another in a picture that is spare, clear and wide. 'Beneath the eastern window I whistle proudly' closes the piece, and in that casual gesture a stubborn dignity shows through.
【白话串讲】 “秋菊有佳色，裛露掇其英”——陶渊明采带露的秋菊泡酒。“日入群动息，归鸟趋林鸣。啸傲东轩下，聊复得此生”——太阳落山，鸟归林，他一个人在东窗下长啸。这是他的自由。 【意象与手法】 诗以「秋菊」起兴，裛露掇英，物我相融；「泛此忘忧物」暗用古诗「何以忘忧」意，自然点题。中四句由采菊、独酌写到日入归鸟，动静相生，画面清旷疏淡；「啸傲东轩」收束全篇，于不经意间见出傲骨。全篇不事雕琢而意境圆融，语言浅近而韵味悠长。 【情感与主旨】 陶渊明于东晋末归隐柴桑，躬耕自资，在晋安帝义熙十二年前后作《饮酒》二十首，此其第七。诗写秋日采菊、独酌忘忧，于「日入群动息」中体悟遗世独立之情，是晋宋易代之际士人出处抉择的缩影，亦是其归田后心境的自然流露，语虽平淡而寄意遥深。 【名句点睛】 常考「秋菊」「归鸟」意象分别象征隐逸高洁与返归自然、采菊独酌的物我相融之境、「聊复得此生」的达观，以及陶诗「质而实绮，癯而实腴」的风格。
Background
Tao Yuanming withdrew to Chaisang at the end of the Eastern Jin and farmed to support himself, writing the twenty poems of 'Drinking Wine' around the twelfth year of the Yixi reign of Emperor An; this is the seventh. It describes picking chrysanthemums in autumn and drinking alone to forget care, and finds in the line about the sun going down and the stirring throng growing still a sense of standing apart from the world. The time was just after the rebellion of Huan Xuan, and Tao refused to serve the new house of Liu-Song, using wine and chrysanthemum to declare his own purity. The setting is in truth a miniature of how scholars chose to serve or to withdraw at the turn from Jin to Song, and equally a natural overflow of his mind after his return to the fields, so that the language is plain while the intent reaches far.
陶渊明（约365—427），字元亮，一说名潜，字渊明，浔阳柴桑（今江西九江）人，东晋末至南朝宋初诗人，田园诗派创始人。早年曾任江州祭酒、镇军参军、彭泽令等职，因「不为五斗米折腰」，于义熙元年（405）弃官归隐，躬耕自资，至死不仕。此诗为《饮酒》二十首之第七，约作于义熙十二、十三年（416—417）前后，时陶渊明已归隐柴桑十余年。《饮酒》组诗有序云「余闲居寡欢，兼比夜已长，偶有名酒，无夕不饮」，二十首皆借酒寄意，非尽咏酒事。此诗写秋日采菊、独酌忘忧，于「日入群动息，归鸟趋林鸣」中体悟遗世独立之情。时值桓玄之乱后、晋宋易代之际，陶渊明拒仕刘宋，借酒与菊自明高洁，其背景实为乱世士人出处抉择之缩影，亦是其归田后心境的自然流露，故语虽平淡而寄意遥深。陶渊明归隐后『躬耕自资』，虽常饥寒交迫，而心境安宁，其《饮酒》组诗即作于此际，借酒寄意、以酒明心，此首写采菊独酌之乐，正是其『结庐在人境，而无车马喧』的心境写照，也是晋宋易代之际士人洁身自好的精神选择。
Art
The poem begins with the autumn chrysanthemum as its evocative image: dew-wet petals are gathered, and self and thing merge. 'I float them on this thing that drowns all care' quietly uses the old poetic question of what can make a man forget sorrow, striking the theme naturally. The four middle lines pass from picking flowers and drinking alone to sunset and homing birds, motion and stillness generating each other in a picture spare, clear and wide. 'Beneath the eastern window I whistle proudly' gathers the whole piece up, and in an offhand phrase a proud backbone appears. The work is unpolished yet perfectly integrated in mood, its language plain and near at hand yet long in aftertaste, a model of pastoral verse that is plain and yet in fact ornate, lean and yet in fact rich.
诗以「秋菊」起兴，裛露掇英，物我相融，章法如行云流水。首二句「秋菊有佳色，裛露掇其英」写采菊——秋菊清雅，带露采撷，「裛」（沾湿）「掇」（采摘）二字写尽采菊的轻柔与爱惜，菊之清与人之洁相映，物我初融；三、四句「泛此忘忧物，远我遗世情」写饮酒——以菊入酒，泛饮忘忧，「泛」字写菊瓣浮于酒面之态，「远我遗世情」写酒使遗世之情更远，由物及心，点出隐逸之趣。中四句由采菊、独酌写到「日入群动息，归鸟趋林鸣」——日落而万籁俱寂，归鸟投林而鸣，一静一动，写尽自然之秩序与生命的归宿，暗喻诗人返归自然之志。末二句「啸傲东轩下，聊复得此生」以「啸傲」收束全篇——东窗之下，长啸放歌，傲然自得，「聊复」二字写尽坦然自适，于不经意间见出傲骨。全篇不事雕琢而意境圆融，语言浅近而韵味悠长，是田园诗「质而实绮，癯而实腴」的典范。全诗由采菊而饮酒而日落而归鸟而啸傲，人事与自然层层过渡，正是『以自然为归』的章法设计，物我界限于不知不觉间泯然，正是陶诗『浑成』之境的体现，亦是田园诗由写景走向写心的关键一步。
Allusions
The thing that drowns all care comes from the Book of Songs, in the airs of Wei, where the singer asks where to find the day-lily of forgetting and plant it on the north side of the hall, and from Cao Cao's line that only the wine of Du Kang can dissolve sorrow, wine being the vessel in which care is laid down. Forsaking the world reworks the sense of standing alone apart from the age in Qu Yuan's 'Nine Songs'. The homing bird is a recurring image in Tao's verse, figuring the return to one's own nature. The allusions here are apt and unforced, with no trace of heaped-up learning; deep intent is lodged in plainness, which shows the poet's power to absorb his sources until no seam is left.
此诗用典自然贴切，化入无痕。「忘忧物」典出《诗经·卫风·伯兮》「焉得谖草，言树之背」——谖草即萱草，古人以为可以忘忧，后世遂以「忘忧」为酒之代称，曹操《短歌行》「何以解忧？唯有杜康」正用此意，陶渊明以「泛此忘忧物」称酒，承《诗经》与曹操作诗的传统，自然点题。「遗世」化用屈原《九歌·山鬼》「表独立兮山之上，云容容兮而在下」及贾谊《鵩鸟赋》「澹乎若深渊之静，泛乎若不系之舟」的遗世独立之意，写超然物外之心。又「归鸟」为陶诗常见意象，见于《归鸟》四章及《饮酒》其五「飞鸟相与还」，喻返归自然之本性；「东轩」暗用《归去来兮辞》「倚南窗以寄傲」之意，写寄傲之所。本诗用典贴切自然，不露堆垛痕迹，于平淡中寄寓深意，可见诗人化典入无痕的功力。又『秋菊』意象尤值玩味——菊开于秋，凌霜而秀，屈子『夕餐秋菊之落英』已开其端，陶渊明以菊入酒、以菊明志，遂使『菊』成为中国文学中隐逸高洁的象征符号，其意象原型意义正在此诗与『采菊东篱下』诸作中确立。
Commentary
Su Shi said of Tao's poetry that it is plain and yet in fact ornate, lean and yet in fact rich. Zhu Xi remarked that everyone calls Tao Yuanming's poems plain, but that in his own view the poet is bold and free, only so unobtrusively that no one notices. Zhong Rong's 'Gradings of Poets' ranked him the founding master of the recluse poets. Critics ancient and modern alike praise this poem for the true simplicity found within its sparseness and treat it as an ancestor of pastoral verse never to be displaced, which is proof enough of its standing.
此诗历被推为陶诗的代表作之一，评价极高。苏轼评陶诗「质而实绮，癯而实腴」，此诗正是注脚——语言质朴而文采内蕴，形体清癯而内容丰腴，采菊、独酌、归鸟、啸傲，无一奇语而意境浑成。朱熹称「陶渊明诗，人皆说是平淡，据某看他自豪放，但豪放得来不觉耳」——此诗「啸傲东轩下」的「傲」字，正是平淡之下豪放的所在。钟嵘《诗品》列陶诗为「隐逸诗人之宗」，萧统《陶渊明集序》称其「文章不群，辞彩精拔」，此诗皆可印证。就诗论诗，此诗写采菊独酌的闲适，而于闲适之中见出对乱世的疏离与对自然的皈依，是《饮酒》组诗「寄酒为迹」的代表；与《饮酒》其五「采菊东篱下，悠然见南山」并为陶诗咏菊双璧，千百年来成为中国文人隐逸精神与田园审美的最经典表达，影响及于后世一切田园诗与隐逸文学。就影响而言，此诗与《饮酒》其五并为陶诗咏菊双璧，其『采菊—饮酒—得生』的意象链，成为后世士人精神生活的经典图式，李白、苏轼、陆游等无不奉陶为宗，可见其诗史地位的崇高与影响之深远。
Prosody
Line by line
秋菊有佳色，裛露掇其英。
The autumn chrysanthemums have a lovely hue; I gather their petals, wet with the dew.
秋菊绽放着清雅的姿色，我带着露水采下它的花瓣。
The autumn chrysanthemums bloom in quiet beauty, and I pluck their blossoms while the dew still clings.
起句写采菊，是全诗的兴象之始，物我相融之境由此展开。「秋菊有佳色」写秋菊之美——「佳色」不说「艳色」「丽色」，着一「佳」字，写出菊花清雅高洁、不俗不艳的品格，正与诗人的高洁志趣相映；「裛露掇其英」写带露采撷——「裛」字写花瓣沾着晨露，莹润欲滴，「掇」字写采摘动作之轻柔，如呵护珍宝，二字连用，写尽诗人对菊的爱惜。此句的妙处有三：一是以菊写人，菊之清雅正是诗人之高洁，采菊即是采心，物我初融；二是以细节写情，「裛露」「掇英」的轻柔动作，见出诗人与自然相得之乐；三是以兴定调，秋菊之清、晨露之洁，为全诗的隐逸之境定下清雅脱俗的基调。
The opening describes gathering chrysanthemums, the first image of the poem and the moment self and thing begin to merge. 'A lovely hue' avoids 'gorgeous' or 'splendid' and uses 'lovely' alone to render the flower's cool purity, matching the poet's own unworldly temper. 'Wet with dew, I pluck the petals' gives the morning dew clinging to the blossoms, glistening, and the verb 'pluck' renders the tenderness of gathering as if handling a treasure. The two words together show the poet's care for the flower: the chrysanthemum's purity is the poet's own, and gathering it is gathering his own heart. The coolness of the autumn flower and the cleanness of the morning dew set the recluse's tone for the whole poem.
泛此忘忧物，远我遗世情。
I float in this sorrow-forgetting wine, and it carries farther my longing to leave the world behind.
斟饮这使人忘忧的美酒，让超然物外、遗弃尘世的心绪渐渐远离。
I sip this care-banishing wine, and it draws farther away from me the mood of abandoning the mortal world.
此句由采菊转入饮酒，是全诗由物及心的枢纽。「泛此忘忧物」写以菊入酒——「泛」字写菊花瓣浮于酒面、随酒泛饮之态，菊与酒交融，雅趣盎然；「忘忧物」称酒，用《诗经》谖草忘忧与曹操「何以解忧，唯有杜康」之意，谓酒可忘忧。「远我遗世情」写饮酒之效——「遗世情」即遗弃尘世之情、超然物外之心，饮酒使这份遗世之情更加深远。「远」字是全句的诗眼：不是「增」我遗世情，而是「远」我遗世情——酒入愁肠，尘世愈远，此心愈高，正是「忘忧」的真义：忘的不是愁，而是尘世的羁绊。此句由物及心，把采菊之趣升华为遗世之志，点出全诗隐逸的题旨，自然流转，不露痕迹。
The line moves from gathering flowers to drinking wine, the hinge where the poem passes from object to inner feeling. 'I float in this sorrow-forgetting wine' pictures the petals floating on the wine, drunk together with the brew—the flower and the cup fused in elegance. To call wine 'sorrow-forgetting' draws on the Book of Songs' herb that banishes sorrow and Cao Cao's 'only Dukang,' meaning wine can release care. 'It carries farther my longing to leave the world' describes the wine's effect: the wish to be beyond the world grows deeper. The word 'farther' is the poem's key: the wine does not 'add' to the recluse's mood but 'carries it farther,' the world receding as the heart rises. It elevates the pleasure of gathering flowers into the resolve to withdraw, naming the poem's reclusive theme without a seam.
一觞虽独进，杯尽壶自倾。
This single cup I raise alone, and when it is empty, the pot tips of itself.
这一杯酒虽是独自斟饮，杯尽壶空，便任它自行倾尽。
Though I raise this single cup by myself, when the bowl is drained the wine pot tips and pours of its own accord.
此句写独酌之态，于孤独中见出自得，是全诗闲适之境的具体化。「一觞虽独进」写独饮——「虽独进」三字，点出无人共饮的孤独，而语气平淡，毫不在意，正是「独」而不「孤」：独饮之乐，正在无人打扰的自在；「杯尽壶自倾」写自斟自酌——杯已尽，壶自倾，「自」字妙绝：壶自己倾斜，酒自己斟满，仿佛天地万物皆随诗人之意，物我相得，浑然忘我。此句的妙处有三：一是以「独」写乐，独饮非寂寞而是自在，正见隐者之趣；二是以「自」写化，壶之自倾，是物我相融的极致，人已与自然合一，何须旁人共饮；三是承接上句，独酌尽兴，正是「远我遗世情」的展开，为下文「日入群动息」的自然之境作了铺垫。
The line pictures solitary drinking, finding contentment within solitude. 'Though I raise it alone' names the loneliness of no companion, yet the tone is plain and untroubled—the lone drinker is not lonely, for the pleasure lies in being undisturbed. 'When the cup is empty, the pot tips of itself' is rendered with a miraculous 'of itself': the pot tilts, the wine pours, as though all nature moved at the poet's wish, self and world fused in forgetfulness. The 'alone' shows ease rather than boredom; the 'of itself' shows the ultimate merging of self and things—why need another to drink with? It continues the previous line's mood of being beyond the world and prepares the natural scene of sunset.
日入群动息，归鸟趋林鸣。
The sun sets and all movement falls still; the homebound birds hurry to the woods and call.
太阳落山，万物的喧嚣都归于沉寂，归巢的飞鸟竞相飞向林中啼鸣。
As the sun goes down the clamor of all living things subsides, and the birds returning to their roost hurry into the trees and cry out.
此句写日落之景，动静相生，是全诗由人事转入自然的枢纽，也是陶诗写自然之境的经典名句。「日入群动息」写日落而万籁俱寂——「群动」指一切活动的生物，日出而作、日入而息，「息」字写万物的止息，天地归于宁静；「归鸟趋林鸣」写归鸟投林而鸣——「归鸟」是陶诗常见意象，喻返归自然之本性，「趋林」写归鸟急急投向树林，「鸣」写归巢后的啼鸣，一静一动，写尽自然之秩序。此句的妙处有三：一是以动写静，「群动息」的静中，归鸟之「鸣」更显清越，静境愈静；二是以鸟写人，「归鸟趋林」正是诗人归隐田园的象征——鸟归林，人归田，物我同归，返归自然之志昭然；三是境界清旷，日落、群息、归鸟，一幅疏淡清远的田园晚景图宛然在目，正是「质而实绮」的所在。
This line describes the sunset, where stillness and sound play against each other, and is the hinge from human affairs to nature, one of Tao's classic scenes. 'The sun sets and all movement falls still' renders the hush of all creatures at day's end—they rise with the sun and rest with it, heaven and earth growing quiet. 'The homebound birds hurry to the woods and call' gives the returning bird, a favorite image of Tao's standing for the return to one's natural origin, hurrying to the trees and calling after settling in. Stillness makes the birds' cry clearer, and the returning bird is the symbol of the poet's own return to the fields: bird to wood, man to farm, all returning to nature. The result is a sparse, clear rural dusk—plain yet splendid, as Tao's best lines are.
啸傲东轩下，聊复得此生。
I whistle, proud and free, beneath the eastern porch—for now, I have my life back.
我在东窗之下长啸放歌、傲然自得，姑且就这样安度此生。
Beneath the eastern window I whistle aloud and hold myself proudly; for the moment, this is how I pass my life.
结句以「啸傲」收束全篇，是全诗情感的归结点，也是陶诗傲骨的自然流露。「啸傲东轩下」写诗人倚坐东窗之下，长啸放歌、傲然自得——「啸」是魏晋名士放达之习，「傲」字见其傲岸不屈之骨，不向世俗低头；「东轩」暗用《归去来兮辞》「倚南窗以寄傲」之意，写寄傲之所。「聊复得此生」以「聊复」收束——「聊」是姑且，「复」是又、还，意谓姑且就这样过此一生：不是激昂的宣言，而是平淡的安顿，见出诗人的坦然自适——既已归隐，此身此心便已得其所哉。此句的妙处有二：一是以「傲」显骨，啸傲之中见出诗人不折腰于世俗的傲岸；二是以「聊」见达，不汲汲于名利，不戚戚于贫贱，姑且安度此生，正是陶渊明「质性自然」的人生境界，也是全诗由采菊、独酌、归鸟一路写来的自然归宿。
The closing uses 'whistling proudly' to gather the poem's emotion, and lets the poet's unyielding bone show naturally. 'Beneath the eastern porch' draws on the return-to-field preface's 'leaning on the southern window to assert my pride,' naming the place where pride may rest. The 'whistle' is the free gesture of Wei-Jin gentlemen, and the word 'proud' shows the backbone that will not bow to the world. 'For now, I have my life back' ends with 'for now'—a tentative, unassuming settling rather than a ringing declaration, showing the poet's calm acceptance: having withdrawn, his body and heart have come home. The 'proud' reveals the refusal to bend; the 'for now' reveals the detachment from gain and poverty alike, and is the natural landing place of the whole sequence from gathering flowers, to solitary drinking, to the returning bird.
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Both by the same hand and on the same subject, writing the joy of leaving office for an easy life in the fields; read together they illuminate his reclusive feeling.
陶渊明《归园田居》其一「少无适俗韵，性本爱丘山。误落尘网中，一去三十年」与本诗同写弃官归隐、田园自适之乐，而侧重有别。归园田居写归隐之决——以「误落尘网中」写仕途之悔，以「久在樊笼里，复得返自然」写归田之乐，重在「归」的过程与解放的欢欣，笔调明快；本诗写归隐之后——采菊、独酌、啸傲，重在「居」的自在与心境的安宁，笔调淡远。一写「归」之乐，一写「居」之静；一为初归时的欣悦，一为久居后的恬淡。两诗并读，可见陶渊明田园诗由「归」到「居」的完整心路，也是理解其隐逸精神从决绝到安顿的演变轨迹，同为其田园诗的代表作。
饮酒·其四 Drinking Wine, No. 4 陶渊明 · 同出《饮酒》组诗，皆以酒明心 Same (from the same sequence)Both from the 'Drinking Wine' sequence; one gathers chrysanthemums to forget care, the other lodges its purpose in a solitary pine, and both use wine to declare the heart.
陶渊明《饮酒》其四「栖栖失群鸟，日暮犹独飞。徘徊无定止，夜夜声转悲」与本诗同出《饮酒》组诗，同借物写归隐之志，而取象与基调有别。其四以「失群鸟」写归隐前的彷徨——孤鸟独飞、徘徊无定，最终「托身已得所，千载不相违」，是弃旧从新的抉择，基调悲而转安；本诗以「秋菊」「归鸟」写归隐后的自得——采菊独酌、啸傲东轩，是安居乐志的恬淡，基调静而自足。一写「择」之过程，一写「得」之结果；一以孤鸟写彷徨，一以归鸟写归栖。两诗并读，可见《饮酒》组诗「以酒寄意、以物明心」的完整结构，也可见陶渊明归隐心路由彷徨到安顿的演进，是理解其《饮酒》组诗整体构思的关键对照。
归去来兮辞 The Return 陶渊明 · 同写归隐之决与田园之趣 Same (retirement and pastoral delight)Both write the resolve to retire and the pleasure of the fields; set beside it the equanimity of his wish to ride along with change to the very end.
陶渊明《归去来兮辞》「归去来兮，田园将芜胡不归」「倚南窗以寄傲，审容膝之易安」与本诗同为陶渊明归隐后之作，同写田园之趣与遗世之志，而文体与情感有别。归去来兮辞为辞赋体，是辞官归田的宣言——「悟已往之不谏，知来者之可追」，情感激越，意气风发，是归隐之初的决绝告白；本诗为五言古诗，是归隐之后的日常——采菊、独酌、啸傲，情感恬淡，心境安详，是安居之后的自然流露。一写「归」之宣言，一写「居」之日常；一激越一恬淡。两篇并读，可见陶渊明归隐由宣言到践行的完整过程，其中「倚南窗以寄傲」与「啸傲东轩下」更是一脉相通，正是陶渊明「寄傲」精神的两种表达，也是理解其隐逸人生的重要文本。