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唐 Tang · 诗 Poem

湘中

In, the, Xiang

韩愈

Han Yu

怀古History 凭吊Theme

猿愁鱼踊水翻波，自古流传是汨罗。
蘋藻满盘无处奠，空闻渔父扣舷歌。

The, apes, sorrowful, the, fish, leaping, the, water, rolling, the, waves,
From, the, ancient, times, it, has, been, handed, down, the, Miluo.
The, duckweeds, and, the, water, plants, filling, the, plates, no, place, to, offer,
In, vain, hearing, the, old, fisherman, tapping, the, gunwale, and, singing.

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Meaning

A poem of the river and the grief, written by Han Yu. The apes sorrowful the fish leaping the water rolling the waves, from the ancient times it has been handed down the Miluo — the river of the opening. The duckweeds and the water plants filling the plates no place to offer, in vain hearing the old fisherman tapping the gunwale and singing — the grief of the close. The poem is the river and the grief: the waves, the Miluo, and the close's singing.

猿愁鱼踊水翻波，自古流传是汨罗。蘋藻满盘无处奠，空闻渔父扣舷歌。

Appreciation

[Plain Paraphrase] The, apes, sorrowful, the, fish, leaping, the, water, rolling, the, waves, from, the, ancient, times, it, has, been, handed, down, the, Miluo. The, duckweeds, and, the, water, plants, filling, the, plates, no, place, to, offer, in, vain, hearing, the, old, fisherman, tapping, the, gunwale, and, singing. [Structure and Thought] The poem moves from the river of the apes and the fish with the rolling waves, through the Miluo of the ancient times, to the close's the grief of the no place to offer. [Key Technique] The poem's art is the close of the grief: from the ancient times it has been handed down the Miluo, and the close's in vain hearing the old fisherman tapping the gunwale and singing — the river gathered in the memory and the close's singing. [Emotional Tone] Sorrowful, grieving, and historic: the poem is the waves, the Miluo and the close's singing.

【白话串讲】韩愈写《湘中》：“猿愁鱼踊水翻波，自古流传是汨罗”——“蘋藻满盘无处奠，空闻渔父扣舷歌”——他到汨罗江畔凭吊屈原——他写对屈原的怀念。【意象与手法】此诗写湘中怀古，以凭吊写贬谪，是韩愈的名篇。前二句写汨罗：「猿愁鱼踊水翻波，自古流传是汨罗」写猿愁鱼踊水翻波、自古流传是汨罗——写尽汨罗的险恶；后二句写凭吊：「蘋藻满盘无处奠，空闻渔父扣舷歌」写蘋藻满盘无处奠、空闻渔父扣舷歌——写尽凭吊的凄凉。全诗以凭吊写贬谪，写尽韩愈谪贬途中的悲愤与怀古之情，是韩愈的代表作。【情感与主旨】此诗写湘中怀古，以凭吊写贬谪，是韩愈的名篇。此诗为韩愈贬阳山令途经湘中所作。屈原投汨罗江而死，湘中正是屈原旧地。此诗写汨罗：猿愁鱼踊水翻波，自古流传是汨罗——写猿愁鱼踊水翻波、自古流传是汨罗，写尽汨罗的险恶；蘋藻满盘无处奠，空闻渔父扣舷歌——写蘋藻满盘无处奠、空闻渔父扣舷歌，写尽凭吊的凄凉。全诗以凭吊写贬谪——那「自古流传是汨罗」写尽汨罗的历史，「空闻渔父扣舷歌」写尽凭吊的凄凉，写尽韩愈谪贬途中的悲愤与怀古之情，是理解韩愈贬谪诗的重要篇章。还需联系韩愈上疏论天旱人饥的背景：贞元十九年，关中旱饥，韩愈上《御史台上论天旱人饥状》，为民请命，触怒权贵，贬为阳山令。其途经湘中凭吊屈原，正是以屈原之忠而见逐自况——屈原「信而见疑，忠而被谤」，韩愈亦然。诗中「猿愁鱼踊水翻波」的险恶，既是湘水的实景，亦暗喻宦途的险恶，可见此诗借古人之酒杯，浇自家之块垒的深意。【名句点睛】常考「猿愁鱼踊水翻波，自古流传是汨罗」写汨罗的险恶；「蘋藻满盘无处奠，空闻渔父扣舷歌」写凭吊的凄凉；以及全诗以凭吊写贬谪、以反衬写悲愤的手法。

Background

Han Yu (768-824), the great writer of the Tang, wrote this 'In, the, Xiang' of the river and the grief — the mourning for the Qu Yuan. The rolling waves with the Miluo, and the close's the no place to offer with the singing of the fisherman — the poem gathers the grief of the poet, the memory of the exile. The poem is one of the famous works of the poet's poems of the rivers.

此诗写湘中怀古，以凭吊写贬谪，是韩愈的名篇。韩愈（768—824），字退之，河南河阳（今河南孟州）人，自谓郡望昌黎，世称韩昌黎，唐代伟大的文学家、思想家，古文运动的倡导者，位列「唐宋八大家」之首。唐德宗贞元十九年（803），韩愈因上疏论天旱人饥，被贬为连州阳山令，途经湘中。屈原投汨罗江而死，湘中正是屈原旧地，韩愈于此凭吊屈原，亦以自伤。「猿愁鱼踊水翻波，自古流传是汨罗」写猿愁鱼踊水翻波、自古流传是汨罗——写尽汨罗的险恶（猿愁鱼踊，水翻波澜，自古流传这里就是汨罗）；「蘋藻满盘无处奠，空闻渔父扣舷歌」写蘋藻满盘无处奠、空闻渔父扣舷歌——写尽凭吊的凄凉（蘋藻满盘却无处祭奠，空闻渔父扣舷而歌）。全诗以凭吊写贬谪，写尽韩愈谪贬途中的悲愤与怀古之情，是理解韩愈贬谪诗的重要篇章。还应从「蘋藻」之礼看此诗情味：蘋藻为古时祭祀所用之水生植物，《诗经·召南·采蘋》「于以采蘋？南涧之滨」即写采蘋备祭之礼。韩愈备蘋藻满盘，正是欲以祭礼凭吊屈原，而「无处奠」三字写尽欲祭无地的痛楚——或是江边无可陈设之所，或是忠魂无处可招，一层「无处」已含无限悲慨。而「空闻渔父扣舷歌」更以渔父之歌反衬祭奠之无着，歌在耳而人已远，正是「此情可待成追忆」式的怅惘。

Art

The poem's art is the art of the grief. The river opens: the, apes, sorrowful, the, fish, leaping, the, water, rolling, the, waves — the rolling waves of the apes and the fish; from, the, ancient, times, it, has, been, handed, down, the, Miluo — the Miluo of the ancient times. The grief follows: the, duckweeds, and, the, water, plants, filling, the, plates, no, place, to, offer — the no place of the duckweeds; in, vain, hearing, the, old, fisherman, tapping, the, gunwale, and, singing — the singing of the old fisherman — the waves, the Miluo and the close's grief, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以写景写险恶。「猿愁鱼踊水翻波」以写景写险恶——那「猿愁」「鱼踊」「水翻波」写尽湘水的险恶，以写景写尽汨罗的险峻。尤可注意「猿愁」「鱼踊」二语：猿本无心而曰「愁」，鱼本无知而曰「踊」，正是移情于物——湘水之物尚且含愁踊跃，何况诗人？以物之愁写人之悲，正是「以我观物，故物皆著我之色彩」的写法。其二，以怀古写悲愤。「自古流传是汨罗」以怀古写悲愤——那「汨罗」写尽屈原投江之地，以怀古写尽忠而见逐的悲愤。其三，以无处奠写凄凉。「蘋藻满盘无处奠」以无处奠写凄凉——那「无处奠」写尽无处祭奠，以无处奠写尽凭吊的凄凉。其四，以反衬写孤寂。「空闻渔父扣舷歌」以反衬写孤寂——那「渔父扣舷歌」写尽渔父的歌，以反衬写尽无人知音的孤寂。此外，此诗前二句写汨罗的险恶与历史，后二句写凭吊的凄凉，由景入情，正是怀古诗「即景怀古」的写法。四重手法，使此诗以凭吊写贬谪，写尽韩愈谪贬途中的悲愤与怀古之情，是韩愈的代表作。

Allusions

'The Miluo' (mi luo) is the Miluo — the river of the Miluo, the drowning of the Qu Yuan; 'the duckweeds and the water plants' (pin zao) are the duckweeds and the water plants — the plants of the offering, the filling of the plates; 'the old fisherman' (yu fu) is the old fisherman — the fisherman of the old, the tapping of the gunwale and the singing.

此诗的用语深植于屈原与凭吊的传统。「猿愁鱼踊」令人想到「猿愁」写猿鸣的意象——「猿愁鱼踊水翻波」正是韩愈的名句，也令人想到「两岸猿声啼不住」（李白）的猿声意象；「汨罗」令人想到「汨罗」写汨罗江的典故——屈原投汨罗江而死，也令人想到「怀沙」的典故——屈原《怀沙》为绝命之辞；「蘋藻满盘」令人想到「蘋藻」写祭品的意象——蘋藻为祭品，也令人想到《诗经·召南·采蘋》「于以采蘋」的祭祀传统；「无处奠」令人想到「无处奠」写无处祭奠的意象——「蘋藻满盘无处奠」正是韩愈的名句；「渔父扣舷歌」令人想到「渔父」写渔父的典故——屈原《渔父》中渔父「鼓枻而去」而歌「沧浪之水清兮」，也令人想到「扣舷而歌」的意象——「空闻渔父扣舷歌」正是韩愈的名句。全诗化用汨罗、蘋藻、渔父的典故，以凭吊写贬谪，正是韩愈「雄奇奔放」而善用典、承屈原传统写悲愤的本领。又「渔父扣舷歌」之典尤须细味：屈原《渔父》中渔父劝屈原「沧浪之水清兮，可以濯吾缨」，是明哲保身之劝，而屈原宁死不屈；韩愈于此「空闻渔父扣舷歌」，正是感叹当世知音之稀少——渔父之歌犹在，而无人解得其中深意，暗含其坚守直道、不随流俗的孤傲。

Commentary

This poem is one of the famous works of Han Yu's poems of the rivers, quoted for the grief of its opening and the emptiness of its close. The Miluo of the ancient times, and the singing of the old fisherman, are among the admired passages of the poet's poems. Critics praise the poem's grief: the river gathered in the memory, to the close's singing.

此诗历来被推为韩愈贬谪诗的名篇，也是唐人凭吊屈原的代表。历代论者对此诗评价极高：清人评此诗「以凭吊写贬谪，苍凉激越」；近人更指出「蘋藻满盘无处奠，空闻渔父扣舷歌」写凭吊的凄凉，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以四句的绝句写尽韩愈谪贬途中的悲愤与怀古之情——那愁猿，那踊鱼，那翻波的水，那汨罗，那满盘的蘋藻，那无处奠，那渔父，那扣舷歌，都写尽了韩愈笔下的湘中；那「空闻渔父扣舷歌」更以反衬写尽无人知音的孤寂。此诗与李白《秋登宣城谢朓北楼》（「临风怀谢公」）同为怀古名篇，一写「两水夹明镜」的谢朓楼（秋登宣城），一写「自古流传是汨罗」的汨罗（湘中）；又与屈原《渔父》的渔父意象一脉相承，可见中国诗以渔父写归隐与孤寂的传统。对于今日读者，此诗是理解韩愈贬谪诗的窗口，也是中国诗凭吊屈原的经典——那扣舷的渔父歌，穿越千年，仍在诉说着忠而见逐的悲愤。

Prosody

Form A quatrain of the river (qi yan jue ju)诗·七言绝句

Rhyme The poem rhymes on the level of the group — the cadence of the quatrain that carries the grieving memory.七绝，押「罗」「歌」韵（下平五歌），一韵到底，音节苍凉

Tone pattern The cadence is that of the grief: the level opening with the river, the turning with the no place, and the close's fall with the singing.此诗为七言绝句，押平声韵，一韵到底，音节苍凉，正合凭吊的苍凉。

Reading note The poem's sound matches its grief: the cadences of the quatrain, and the close — 'kong wen yu fu kou xian ge' — falls with the singing, the sound of the grief of the river poet.此诗为七言绝句，四句——「猿愁鱼踊水翻波，自古流传是汨罗。蘋藻满盘无处奠，空闻渔父扣舷歌」，押「歌」韵（罗、歌），一韵到底，音节苍凉。全诗以凭吊写贬谪：前二句写汨罗的险恶与历史（猿愁鱼踊水翻波，自古流传是汨罗），后二句写凭吊的凄凉（蘋藻满盘无处奠，空闻渔父扣舷歌）。四句短章，前写汨罗，后写凭吊，以「空闻渔父扣舷歌」写尽无人知音的孤寂，正见韩愈「雄奇奔放」的本色。诵读此诗，宜以苍凉的语调读「猿愁鱼踊水翻波」的险恶，以凄凉的语调读「空闻渔父扣舷歌」的孤寂，结句要读得低回而有余韵，方能传达出韩愈的苍凉激越。韩愈绝句以「雄奇奔放」著称，此诗正是其贬谪绝句的典范。

Line by line

蘋藻满盘无处奠，空闻渔父扣舷歌

Water-plant and pondweed fill the dish, yet nowhere to offer them; in vain I hear the fisherman strike the boatside and sing.

蘋藻满盘却无处祭奠，空闻渔父扣舷而歌。

Crowded with duckweed and pondweed, yet nowhere to make offering; I hear only the fisherman beating the gunwale and singing.

此二句是全诗写凭吊的核心，以蘋藻满盘写祭品，以无处奠写无祭，写尽凭吊的凄凉，是千古名句。「蘋藻满盘无处奠」写蘋藻满盘却无处祭奠——那「蘋藻满盘」写蘋藻满盘，「无处奠」写无处祭奠，写尽凭吊的无处；「空闻渔父扣舷歌」写空闻渔父扣舷而歌——那「空闻」写空闻，「渔父扣舷歌」写渔父扣舷而歌，写尽无人知音的孤寂。这句的深意在于：它以「蘋藻满盘无处奠」的无处与「空闻渔父扣舷歌」的反衬，写尽凭吊的凄凉——蘋藻满盘却无处祭奠，那「蘋藻满盘无处奠」写尽凭吊的无处——备好蘋藻祭品，却无处祭奠，正是欲祭而无所的凄凉，那「无处奠」写尽凭吊的凄凉；空闻渔父扣舷而歌，那「空闻渔父扣舷歌」写尽无人知音的孤寂——渔父扣舷而歌，正是《渔父》中渔父劝屈子之歌，而无人解其中意，那「空闻」写尽无人知音的孤寂；那「蘋藻满盘无处奠」写尽凭吊的无处，那「空闻渔父扣舷歌」写尽无人知音的孤寂，一写无祭，一写无听，写尽凭吊的凄凉——欲祭无处而空闻渔歌，正是忠而见逐的悲愤；此二句以无祭、无听写尽凭吊的凄凉，也让此二句成为全诗写凭吊的核心与千古名句。若换作直说「我很想凭吊屈原却没处祭奠」，则失其苍凉；唯以「蘋藻满盘无处奠」写无祭、「空闻渔父扣舷歌」写无听，写尽凭吊的凄凉，也让此二句成为全诗写凭吊的核心。

These two lines are the core of the poem on mourning Qu Yuan, writing through the full dish and the no-place to offer the desolation of the tribute, an age-old celebrated couplet. 'Crowded with duckweed and pondweed, yet nowhere to make offering' writes the dish heaped with water plants for sacrifice, yet no place to offer them—the prepared offerings, with nowhere to lay them, the grief of wishing to sacrifice and finding no altar. 'I hear only the fisherman beating the gunwale and singing' writes that he hears in vain the fisherman's song—the fisherman's song on the boat is the very song in the 'Fisherman' that exhorted Qu Yuan, yet no one understands its meaning now, the word 'in vain' writing the loneliness of having no kindred spirit. One line writes no offering, one no listener, exhausting the bleakness of mourning—wishing to sacrifice yet finding no place, hearing only the fisher's song—the grief of the loyal man driven out. It made these lines the core and celebrated verse on the tribute.

猿愁鱼踊水翻波，自古流传是汨罗

Apes grieve, fish leap, the water churns in waves; from olden times men say this is the Miluo.

猿愁鱼踊，水翻波澜，自古流传这里就是汨罗。

Gibbons mourn, fish leap, the river rolls in billows; from of old men tell this is the Miluo stream.

此二句是全诗写汨罗的核心，以猿愁鱼踊写险恶，以自古流传写历史，写尽汨罗的险恶，是千古名句。「猿愁鱼踊水翻波」写猿愁鱼踊水翻波澜——那「猿愁」「鱼踊」写猿愁鱼踊，「水翻波」写水翻波澜，写尽湘水的险恶；「自古流传是汨罗」写自古流传这里就是汨罗——那「自古流传」写自古流传，「是汨罗」写就是汨罗，写尽汨罗的历史。这句的深意在于：它以「猿愁鱼踊水翻波」的险恶与「自古流传是汨罗」的历史，写尽汨罗的险恶——猿愁鱼踊水翻波澜，那「猿愁鱼踊水翻波」写尽湘水的险恶——猿鸣含愁、鱼跳踊跃、水翻波澜，正是湘水的险恶，那「水翻波」写尽湘水的汹涌；自古流传这里就是汨罗，那「自古流传是汨罗」写尽汨罗的历史——汨罗，正是屈原投江之地，那「自古流传」写尽汨罗的千古；那「猿愁鱼踊水翻波」写尽湘水的险恶，那「自古流传是汨罗」写尽汨罗的历史，一写险恶，一写历史，写尽汨罗的险恶——水翻波而传汨罗，正是屈原投江之地的险恶；此二句以险恶、历史写尽汨罗的险恶，也为后二句的凭吊作铺垫，也让此二句成为全诗写汨罗的核心与千古名句。若换作直说「这就是屈原投江的汨罗江」，则失其气势；唯以「猿愁鱼踊水翻波」写险恶、「自古流传是汨罗」写历史，写尽汨罗的险恶，也让此二句成为全诗写汨罗的核心。

These two lines are the core of the poem on the Miluo, writing through the grieving apes and the recorded name the river's peril and its history, an age-old celebrated couplet. 'Gibbons mourn, fish leap, the river rolls in billows' writes the Xiang river's menace—gibbons crying with grief, fish leaping, the water churning. 'From of old men tell this is the Miluo' writes the river's history—the Miluo, precisely the stream where Qu Yuan drowned, 'from of old' its renown across the ages. One line writes the peril, one the history, exhausting the dread of the place—the churning water bearing the name of Qu Yuan's drowning. It paves the way for the mourning below, and made these lines the core and celebrated verse on the Miluo.

Study

Word focus

愁 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「猿愁鱼踊水翻波」之「愁」字是写景的字眼，一个「愁」字写尽湘水的悲愁。愁者，含愁也。韩愈以「猿愁鱼踊水翻波」写湘水，这个「愁」字至少有双重意味：其一，写猿声之悲——那「猿愁鱼踊水翻波」写猿愁鱼踊水翻波澜，那「愁」字写尽猿鸣之悲——猿鸣含愁，正是悲声，那「愁」字写尽猿声的悲愁；其二，写心境之愁——那「愁」字更是写心境——猿愁，正是诗人自愁，那「愁」字写尽贬谪的悲愁。以「愁」字写湘水，正是韩愈写险恶的枢纽——若换作「悲」「哀」等字，则或失其与「鱼踊」的配合，或失其写猿愁的意味；唯「愁」字，以猿愁鱼踊水翻波写尽猿声之悲与贬谪的悲愁，与「自古流传是汨罗」的汨罗相合，写尽汨罗的险恶，也让「猿愁鱼踊水翻波」成为全诗写汨罗的名句。

空 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「空闻渔父扣舷歌」之「空」字是写孤寂的关键词，一个「空」字写尽无人知音的孤寂。空者，徒然也。韩愈以「空闻渔父扣舷歌」写凭吊，这个「空」字至少有双重意味：其一，写无听之悲——那「空闻渔父扣舷歌」写空闻渔父扣舷而歌，那「空」字写尽无听之悲——渔父之歌，空自听闻，那「空」字写尽无人知音；其二，写徒然之叹——那「空」字更是写叹——空闻，正是徒然之叹，那「空」字写尽凭吊的徒然。以「空」字写凭吊，正是韩愈写孤寂的枢纽——若换作「徒」「但」等字，则或失其写空闻的意味，或失其与「无处奠」的配合；唯「空」字，以空闻渔父扣舷歌写尽无听之悲与凭吊的徒然，与「蘋藻满盘无处奠」的无处奠相合，写尽凭吊的凄凉，也让「空闻渔父扣舷歌」成为全诗写孤寂的名句。

湘中