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唐 Tang · 诗 Poem

谢公亭

The, Pavilion, of, the, Lord, Xie

李白

Li Bai

怀古History

谢亭离别处，风景每生愁。
客散青天月，山空碧水流。
池花春映日，窗竹夜鸣秋。
今古一相接，长歌怀旧游。

The, pavilion, of, the, Xie, the, place, of, the, parting,
The, scenery, each, time, giving, birth, to, the, sorrow.
The, guests, gone, the, blue, sky, moon,
The, mountain, empty, the, green, water, flowing.
The, pond, flowers, in, the, spring, shining, the, sun,
The, window, bamboos, in, the, night, crying, the, autumn.
Today, and, the, ancient, times, one, touching, each, other,
Singing, the, long, song, cherishing, the, old, excursions.

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Meaning

A poem of the pavilion and the memory, written by Li Bai. The pavilion of the Xie the place of the parting, the scenery each time giving birth to the sorrow — the pavilion of the opening. The guests gone the blue sky moon, the mountain empty the green water flowing — the emptiness of the middle. The pond flowers in the spring shining the sun, the window bamboos in the night crying the autumn — the seasons of the middle. And the close's today and the ancient times one touching each other, singing the long song cherishing the old excursions — the close's cherishing. The poem is the pavilion and the memory: the sorrow, the emptiness, and the close's cherishing.

谢亭离别处，风景每生愁。客散青天月，山空碧水流。池花春映日，窗竹夜鸣秋。今古一相接，长歌怀旧游。

Appreciation

[Plain Paraphrase] The, pavilion, of, the, Xie, the, place, of, the, parting, the, scenery, each, time, giving, birth, to, the, sorrow. The, guests, gone, the, blue, sky, moon, the, mountain, empty, the, green, water, flowing. The, pond, flowers, in, the, spring, shining, the, sun, the, window, bamboos, in, the, night, crying, the, autumn. Today, and, the, ancient, times, one, touching, each, other, singing, the, long, song, cherishing, the, old, excursions. [Structure and Thought] The poem moves from the pavilion of the parting with the sorrow, through the emptiness of the guests gone with the seasons, to the close's the cherishing of the old excursions. [Key Technique] The poem's art is the close of the cherishing: the guests gone the blue sky moon, and the close's today and the ancient times one touching each other singing the long song cherishing the old excursions — the pavilion gathered in the emptiness and the close's cherishing. [Emotional Tone] Sorrowful, empty, and cherishing: the poem is the pavilion, the emptiness and the close's cherishing.

【白话串讲】李白写《谢公亭》：“谢亭离别处，风景每生愁”——“客散青天月，山空碧水流”——“池花春映日，窗竹夜鸣秋”——“今古一相接，长歌怀旧游”——他过谢公亭，怀想谢朓。【意象与手法】此诗写怀古，以感慨写怀古，是李白的名篇。前四句写谢亭：「谢亭离别处，风景每生愁。客散青天月，山空碧水流」写谢亭离别处、风景每生愁——写尽谢亭的风景；后四句写怀旧：「池花春映日，窗竹夜鸣秋。今古一相接，长歌怀旧游」写池花春映日、今古一相接——写尽怀旧的感慨。全诗以感慨写怀古，写尽谢亭的风景与怀旧的感慨，是李白的代表作。【情感与主旨】此诗写怀古，以感慨写怀古，是李白的名篇。此诗写谢公亭——在今安徽宣城，相传谢朓（南朝齐诗人，曾任宣城太守）曾在此送别范云。李白游宣城，登谢公亭，怀谢朓而作此诗。此诗写谢亭离别之处，风景每令人生愁；客散之后只见青天明月，山空之处唯闻碧水流淌；池花春映日光，窗竹夜鸣秋声；古今在此相接，长歌而怀旧游。此诗写谢亭：谢亭离别处，风景每生愁——写谢亭离别处、风景每生愁，写尽谢亭的风景；客散青天月，山空碧水流——写客散青天月、山空碧水流，写尽客散的清景；池花春映日，窗竹夜鸣秋——写池花春映日、窗竹夜鸣秋，写尽谢亭的景致；今古一相接，长歌怀旧游——写今古一相接、长歌怀旧游，写尽怀旧的感慨。全诗以感慨写怀古——那「风景每生愁」写尽谢亭的风景，「长歌怀旧游」写尽怀旧的感慨，写尽谢亭的风景与怀旧的感慨，是理解李白怀古诗的重要篇章。【名句点睛】常考「客散青天月，山空碧水流」写客散的清景；「今古一相接，长歌怀旧游」写怀旧的感慨；以及全诗以感慨写怀古、以空寂写愁情的手法。

Background

Li Bai (701-762), the great poet of the Tang, wrote this 'The, Pavilion, of, the, Lord, Xie' of the pavilion and the memory — the cherishing of the Xie Tiao. The pavilion of the parting with the sorrow, the emptiness of the guests gone, and the close's the cherishing of the old excursions — the poem gathers the memory of the poet, the admiration of the Xie Tiao. The poem is one of the famous works of the poet's poems of the memory.

此诗写怀古，以感慨写怀古，是李白的名篇。李白（701—762），字太白，号青莲居士，又号谪仙人，祖籍陇西成纪（今甘肃秦安），生于碎叶（今吉尔吉斯斯坦托克马克），长于绵州昌隆（今四川江油），唐代诗人，与杜甫并称「李杜」，被尊为「诗仙」。此诗写谢公亭——在今安徽宣城，相传谢朓（南朝齐诗人，曾任宣城太守）曾在此送别范云。李白游宣城，登谢公亭，怀谢朓而作此诗。此诗写谢亭离别之处，风景每令人生愁；客散之后只见青天明月，山空之处唯闻碧水流淌；池花春映日光，窗竹夜鸣秋声；古今在此相接，长歌而怀旧游。此诗写谢亭：「谢亭离别处，风景每生愁」写谢亭离别处、风景每生愁——写尽谢亭的风景（谢亭离别处，风景每生愁）；「客散青天月，山空碧水流」写客散青天月、山空碧水流——写尽客散的清景（客散青天月，山空碧水流）；「池花春映日，窗竹夜鸣秋」写池花春映日、窗竹夜鸣秋——写尽谢亭的景致（池花春映日，窗竹夜鸣秋）；「今古一相接，长歌怀旧游」写今古一相接、长歌怀旧游——写尽怀旧的感慨（今古一相接，长歌怀旧游）。全诗以感慨写怀古，写尽谢亭的风景与怀旧的感慨，是理解李白怀古诗的重要篇章。

Art

The poem's art is the art of the cherishing. The pavilion opens: the, pavilion, of, the, Xie, the, place, of, the, parting — the pavilion of the parting; the, scenery, each, time, giving, birth, to, the, sorrow — the scenery of the sorrow. The emptiness follows: the, guests, gone, the, blue, sky, moon — the blue sky moon of the guests gone; the, mountain, empty, the, green, water, flowing — the green water of the mountain empty; the, pond, flowers, in, the, spring, shining, the, sun — the pond flowers of the spring; the, window, bamboos, in, the, night, crying, the, autumn — the window bamboos of the autumn. And the close gathers the cherishing: today, and, the, ancient, times, one, touching, each, other — the touching of the today and the ancient times; singing, the, long, song, cherishing, the, old, excursions — the old excursions of the cherishing — the pavilion, the emptiness and the close's cherishing, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以点题写生愁。「谢亭离别处」以点题写生愁——那「离别处」写尽谢亭的离情，以点题写尽谢亭的风景。其二，以空寂写清景。「客散青天月，山空碧水流」以空寂写清景——那「客散」「山空」写尽客散的清寂，以空寂写尽谢亭的风景。其三，以对仗写景致。「池花春映日，窗竹夜鸣秋」以对仗写景致——那「池花」「窗竹」写尽春秋的对仗，以对仗写尽谢亭的景致。其四，以感慨写怀旧。「今古一相接」以感慨写怀旧——那「一相接」写尽古今的相接，以感慨写尽怀旧的感慨。此外，此诗前四句写谢亭的风景，后四句写怀旧的感慨，由景及情，正是怀古诗「以景写怀」的写法。四重手法，使此诗以感慨写怀古，写尽谢亭的风景与怀旧的感慨，是李白的代表作。此诗还善于以「谢亭离别处」的「离别处」点题写生愁——那「离别处」写尽谢亭的离情，正是点题之笔，以「离别处」写尽谢亭的风景。又善以「池花春映日，窗竹夜鸣秋」的春秋对仗写时序——春映日而夜鸣秋，以对仗写尽谢亭的景致。

Allusions

'The pavilion of the Lord Xie' (xie gong ting) is the pavilion of the Lord Xie — the pavilion of the Xie Tiao, the pavilion of the opening; 'the blue sky moon' (qing tian yue) is the blue sky moon — the moon of the blue sky, the emptiness of the middle; 'the old excursions' (jiu you) are the old excursions — the excursions of the old, the cherishing of the close.

此诗的用语深植于怀古与感慨传统。「谢亭」令人想到「谢亭」写谢朓送别之亭的意象——在今安徽宣城，也令人想到「谢朓楼」的意象；「离别处」令人想到「离别」写离别的意象——也令人想到「多情自古伤离别」（柳永）的意象；「青天月」令人想到「青天月」写青天的意象——也令人想到「明月出天山」（李白）的意象；「碧水流」令人想到「碧水」写碧水的意象——也令人想到「碧水东流至此回」（李白）的意象；「池花」令人想到「池花」写池中花的意象——也令人想到「映日荷花别样红」的意象；「窗竹」令人想到「窗竹」写窗前竹的意象——也令人想到「窗含西岭千秋雪」（杜甫）的意象。全诗化用谢亭、离别处、青天月、碧水流、池花、窗竹的意象，以感慨写怀古，正是李白「豪放」而善怀古、承谢朓传统写旧游之本领。「谢亭」令人想到谢朓《新亭渚别范零陵云》的送别意象——李白登谢公亭而怀谢朓，正是一脉相承；「青天月」令人想到「青天有月来几时」的意象——也令人想到《把酒问月》「青天明月」的意象，以青天月写客散后的清景。

Commentary

This poem is one of the famous works of Li Bai's poems of the memory, quoted for the emptiness of its middle and the cherishing of its close. The blue sky moon of the guests gone, and the cherishing of the old excursions, are among the admired passages of the poet's poems. Critics praise the poem's cherishing: the pavilion gathered in the emptiness, to the close's cherishing.

此诗历来被推为李白怀古诗的名篇，也是唐诗写谢朓遗迹的代表。历代论者对此诗评价极高：清人评此诗「以感慨写怀古，空灵自然」；近人更指出「今古一相接，长歌怀旧游」写怀旧的感慨，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以八句的五律写尽谢亭的风景与怀旧的感慨——那谢亭，那离别处，那风景，那每生愁，那客散，那青天月，那山空，那碧水流，那池花，那春映日，那窗竹，那夜鸣秋，那今古，那一相接，那长歌，那怀旧游，都写尽了李白笔下的谢公亭；那「今古一相接」更以感慨写尽怀旧的感慨。此诗与李白《秋登宣城谢朓北楼》（「江城如画里」）同为宣城怀谢朓名篇，一写「两水夹明镜」的北楼（谢朓北楼），一写「客散青天月」的谢亭（谢公亭）；又与谢朓《新亭渚别范零陵云》的送别传统一脉相承，可见李白对谢朓的追慕。对于今日读者，此诗是理解李白怀古诗的窗口，也是唐诗写谢公亭的经典——那长歌怀旧游的深情，穿越千年，仍在诉说着怀旧的感慨。

Prosody

Form A regulated poem of the memory (wu yan lü shi)诗·五言律诗

Rhyme The poem rhymes on the level of the group — the cadence of the regulated poem that carries the cherishing memory.五律，押「愁」「流」「秋」「游」韵（下平十一尤），一韵到底，音节空灵

Tone pattern The cadence is that of the cherishing: the level opening with the pavilion, the turning with the emptiness, and the close's fall with the cherishing.此诗为五言律诗，押平声韵，一韵到底，音节空灵，正合怀古的空灵。

Reading note The poem's sound matches its memory: the cadences of the regulated poem, and the close — 'chang ge huai jiu you' — falls with the excursions, the sound of the cherishing of the pavilion poet.此诗为五言律诗，八句——「谢亭离别处，风景每生愁。客散青天月，山空碧水流。池花春映日，窗竹夜鸣秋。今古一相接，长歌怀旧游」，押「尤」韵（愁、流、秋、游），一韵到底，音节空灵。全诗以感慨写怀古：前四句写谢亭的风景（谢亭离别处、山空碧水流），后四句写怀旧的感慨（池花春映日、长歌怀旧游）。八句短章，前写风景，后写怀旧，以「今古一相接」写尽怀旧的感慨，正见李白「豪放」的本色。诵读此诗，宜以空灵的语调读「客散青天月」的清景，以深情的语调读「长歌怀旧游」的怀旧，结句要读得空灵而有余韵，方能传达出李白的豪放飘逸。李白律诗以「豪放飘逸」著称，此诗正是其怀古诗的典范。

Line by line

今古一相接，长歌怀旧游

Past and present touch as one; I sing a long song, longing for the old wanderings.

今古一相接，长歌怀旧游。

The ancient and the present meet as one; I sing a long chant, recalling the old roaming days.

此二句是全诗写怀旧的核心，以今古一相接写一相接，以长歌怀旧游写怀旧游，写尽怀旧的感慨，是千古名句。「今古一相接」写今古一相接——那「今古一」写今古一，「相接」写相接，写尽古今的相接；「长歌怀旧游」写长歌怀旧游——那「长歌」写长歌，「怀旧游」写怀旧游，写尽长歌的怀旧。这句的深意在于：它以「今古一相接」的一相接与「长歌怀旧游」的怀旧游，写尽怀旧的感慨——今古一相接，那「今古一相接」写尽古今的相接——今古一相接，正是古今相通的写照，那「一相接」写尽怀旧的感慨；长歌怀旧游，那「长歌怀旧游」写尽长歌的怀旧——长歌怀旧游，正是长歌怀旧的写照，那「怀旧游」写尽怀旧的感慨；那「今古一相接」写尽古今的相接，那「长歌怀旧游」写尽长歌的怀旧，一写今古，一写长歌，写尽怀旧的感慨——今古相接而长歌怀旧，正是怀古的深情的写照；此二句以相接、怀旧写尽怀旧的感慨，也让此二句成为全诗写怀旧的核心与千古名句。若换作直说「古人和我在这同一处，我唱首歌怀念老朋友」，则失其空灵；唯以「今古一相接」写一相接、「长歌怀旧游」写怀旧游，写尽怀旧的感慨，也让此二句成为全诗写怀旧的核心。

These lines are the nostalgic heart of the poem, 'past and present touch as one' against 'singing of old wanderings.' 'Past and present touch' writes the communion across centuries—here at Xie Gong's pavilion, Li Bai feels himself joined with Xie Tiao of the Six Dynasties. The 'long song' is the release of that sympathy; 'old wanderings' at once Xie's and the poet's own. The couplet elevates nostalgia into a dialogue across time, preparing the whole's sense of being a kindred spirit to the ancients. If stated as 'the ancients and I are here together,' the airy refinement would vanish; only through 'touch as one' and 'long song' does the historical sympathy take flight.

客散青天月，山空碧水流

Guests are scattered; the moon hangs in the blue sky. The hills are empty; the green water flows on.

客散青天月，山空碧水流。

The guests have dispersed beneath the clear moon; the hills stand empty as the green water flows away.

此二句是全诗写清景的核心，以客散青天月写青天月，以山空碧水流写碧水流，写尽客散的清景，是千古名句。「客散青天月」写客散青天月——那「客散」写客散，「青天月」写青天月，写尽客散的月色；「山空碧水流」写山空碧水流——那「山空」写山空，「碧水流」写碧水流，写尽山空的流水。这句的深意在于：它以「客散青天月」的青天月与「山空碧水流」的碧水流，写尽客散的清景——客散青天月，那「客散青天月」写尽客散的月色——客散青天，正是客去天青的写照，那「青天月」写尽谢亭的风景；山空碧水流，那「山空碧水流」写尽山空的流水——山空碧水，正是山空水碧的写照，那「碧水流」写尽谢亭的风景；那「客散青天月」写尽客散的月色，那「山空碧水流」写尽山空的流水，一写青天，一写碧水，写尽客散的清景——客散山空而月明水流，正是人去景清的写照；此二句以月色、流水写尽客散的清景，也为下文的景致作铺垫，也让此二句成为全诗写清景的核心与千古名句。若换作直说「客人走了，只剩明月和流水」，则失其空寂；唯以「客散青天月」写青天月、「山空碧水流」写碧水流，写尽客散的清景，也让此二句成为全诗写清景的核心。

These lines are the clear-scene heart of the poem, guests scattered under the moon and the empty hills with flowing water. The guests gone, only the bright moon remains in the blue sky; the hills are vacant, the green water flowing on regardless. Stillness and motion—the fixed moon, the empty hills, the running water—write the loneliness after departure, the world left bare. If stated as 'the guests left and only moon and water remained,' the desolation would fade; only through the piled 'clear sky, empty hills, green water flowing' does the emptiness of Xie Gong's pavilion become palpable.

Study

Word focus

愁 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「风景每生愁」之「愁」字是写感慨的关键词，一个「愁」字写尽生愁的感慨。愁者，忧愁、愁绪也。李白以「风景每生愁」写感慨，这个「愁」字至少有双重意味：其一，写愁之生——那「风景每生愁」写风景每生愁，那「愁」字写尽生愁的感慨——每生愁，正是每每生愁的写照，那「愁」字写尽谢亭的风景；其二，写情之深——那「愁」字更是写深——愁，正见对谢朓的追慕与怅惘，那「愁」字写尽怀旧的感慨。以「愁」字写感慨，正是李白写怀古的枢纽——若换作「悲」「忧」等字，则或失其与「风景每」「生愁」的配合，或失其写愁的意味；唯「愁」字，以风景每生愁写尽生愁之每每与追慕之怅惘，与「长歌怀旧游」的怀旧相合，写尽怀旧的感慨，也让「风景每生愁」成为全诗写感慨的名句。

接 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「今古一相接」之「接」字是写怀旧的关键词，一个「接」字写尽古今的相接。接者，相接、贯通也。李白以「今古一相接」写怀旧，这个「接」字至少有双重意味：其一，写古之相接——那「今古一相接」写今古一相接，那「接」字写尽古今的相接——一相接，正是古今相通的写照，那「接」字写尽怀旧的感慨；其二，写情之通——那「接」字更是写通——接，正见与谢朓神交的相通，那「接」字写尽李白的追慕。以「接」字写怀旧，正是李白写怀古的枢纽——若换作「通」「连」等字，则或失其与「今古一」「相接」的配合，或失其写接的意味；唯「接」字，以今古一相接写尽古今之相通与神交之追慕，与「长歌怀旧游」的怀旧相合，写尽怀旧的感慨，也让「今古一相接」成为全诗写怀旧的名句。

谢公亭