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宋 Song · 词 Ci lyric

行香子·过七里濑

The, Pilgrim's, Incense: Passing, the, Rapid, of, the, Seven, Li

苏轼

Su Shi

山水Landscape 哲理Philosophy

一叶舟轻，双桨鸿惊。
水天清、影湛波平。
鱼翻藻鉴，鹭点烟汀。
过沙溪急，霜溪冷，月溪明。
重重似画，曲曲如屏。
算当年、虚老严陵。
君臣一梦，今古空名。
但远山长，云山乱，晓山青。

A, single, leaf, the, boat, light,
The, double, oars, the, wild, geese, startled.
The, water, and, the, sky, clear, the, shadows, pure, the, waves, level.
The, fish, turning, the, mirror, of, the, weeds,
The, egrets, dotting, the, misty, banks.
Passing, the, sandy, creek, the, rapid,
The, frosty, creek, the, cold,
The, moonlit, creek, the, bright.
The, layered, like, the, painting,
The, winding, like, the, screen.
Counting, the, years, of, the, past, the, Yan, Ling, in, vain, old.
The, sovereign, and, the, minister, one, dream,
The, present, and, the, ancient, the, empty, fame.
But, the, distant, mountains, long,
The, cloudy, mountains, the, confusion,
The, dawn, mountains, the, green.

Listen

Meaning

A poem of the river and the reflection, written by Su Shi. A single leaf the boat light, the double oars the wild geese startled — the boat of the opening. The water and the sky clear, the shadows pure, the waves level — the river of the middle. The fish turning the mirror of the weeds, the egrets dotting the misty banks — the scenes of the middle. And the close's but the distant mountains long, the cloudy mountains the confusion, the dawn mountains the green — the close's mountains. The poem is the river and the reflection: the boat, the scenes, and the close's mountains.

一叶舟轻，双桨鸿惊。水天清、影湛波平。鱼翻藻鉴，鹭点烟汀。过沙溪急，霜溪冷，月溪明。重重似画，曲曲如屏。算当年、虚老严陵。君臣一梦，今古空名。但远山长，云山乱，晓山青。

Appreciation

[Plain Paraphrase] A, single, leaf, the, boat, light, the, double, oars, the, wild, geese, startled. The, water, and, the, sky, clear, the, shadows, pure, the, waves, level. The, fish, turning, the, mirror, of, the, weeds, the, egrets, dotting, the, misty, banks. Passing, the, sandy, creek, the, rapid, the, frosty, creek, the, cold, the, moonlit, creek, the, bright. The, layered, like, the, painting, the, winding, like, the, screen. Counting, the, years, of, the, past, the, Yan, Ling, in, vain, old. The, sovereign, and, the, minister, one, dream, the, present, and, the, ancient, the, empty, fame. But, the, distant, mountains, long, the, cloudy, mountains, the, confusion, the, dawn, mountains, the, green. [Structure and Thought] The poem moves from the boat of the single leaf with the wild geese startled, through the river of the fish and the egrets with the creeks, to the close's the reflection of the Yan Ling and the mountains. [Key Technique] The poem's art is the close of the reflection: counting the years of the past the Yan Ling in vain old, and the close's but the distant mountains long the cloudy mountains the confusion the dawn mountains the green — the river gathered in the reflection and the close's mountains. [Emotional Tone] Fresh, reflecting, and philosophical: the poem is the boat, the scenes and the close's mountains.

【白话串讲】苏轼写《行香子·过七里濑》：“一叶舟轻，双桨鸿惊”——“鱼翻藻鉴，鹭点烟汀”——“过沙溪急，霜溪冷，月溪明”——“算当年、虚老严陵”——“但远山长，云山乱，晓山青”——他过七里濑——远山长，云山乱，晓山青。【意象与手法】此词写溪山，以怀古写溪山，是苏轼的名篇。上片写溪景：「一叶舟轻，双桨鸿惊。水天清、影湛波平。鱼翻藻鉴，鹭点烟汀。过沙溪急，霜溪冷，月溪明」写一叶舟轻、双桨鸿惊、水天清、影湛波平、鱼翻藻鉴、鹭点烟汀——写尽溪山的清景；下片写怀古：「重重似画，曲曲如屏。算当年、虚老严陵。君臣一梦，今古空名。但远山长，云山乱，晓山青」写重重似画、曲曲如屏、算当年、虚老严陵、君臣一梦——写尽溪山的怀古。全词以怀古写溪山，写尽溪山的清景与溪山的怀古，是苏轼的代表作。【情感与主旨】此词写溪山，以怀古写溪山，是苏轼的名篇。此词写苏轼途经七里濑时即景抒怀。七里濑在浙江桐庐严陵山下，即严子陵隐居垂钓处。苏轼由杭州赴密州途中经过此处，见溪山清景，追怀严陵与光武帝的故事，而生「君臣一梦」之慨。此词写溪景：一叶舟轻，双桨鸿惊——写一叶舟轻、双桨鸿惊，写尽舟行的轻快；水天清、影湛波平——写水天清、影湛波平，写尽溪水的澄澈；鱼翻藻鉴，鹭点烟汀——写鱼翻藻鉴、鹭点烟汀，写尽溪山的生机；过沙溪急，霜溪冷，月溪明——写过沙溪急、霜溪冷、月溪明，写尽溪水的变幻；重重似画，曲曲如屏——写重重似画、曲曲如屏，写尽溪山的如画；算当年、虚老严陵——写算当年、虚老严陵，写尽对严陵的追怀；君臣一梦，今古空名——写君臣一梦、今古空名，写尽今古的空名；但远山长，云山乱，晓山青——写但远山长、云山乱、晓山青，写尽远山的青青。全词以怀古写溪山——那「水天清、影湛波平」写尽溪山的清景，「君臣一梦，今古空名」写尽溪山的怀古，写尽溪山的清景与溪山的怀古，是理解苏轼山水词的重要篇章。【名句点睛】常考「水天清、影湛波平」写溪水的澄澈；「君臣一梦，今古空名」写溪山的怀古；以及全词以怀古写溪山、以景写理的手法。

Background

Su Shi (1037-1101), the great poet of the Song, wrote this 'The, Pilgrim's, Incense: Passing, the, Rapid, of, the, Seven, Li' of the river and the reflection — the reflection of the Yan Ling and the fame. The boat of the single leaf with the wild geese startled, the scenes of the fish and the egrets, and the close's the reflection of the Yan Ling and the mountains — the poem gathers the reflection of the poet, the philosophy of the fame. The poem is one of the famous works of the poet's poems of the rivers.

此词写溪山，以怀古写溪山，是苏轼的名篇。苏轼（1037—1101），字子瞻，号东坡居士，眉州眉山（今四川眉山）人，北宋文学家、书画家，唐宋八大家之一，豪放词派代表。此词写苏轼途经七里濑时即景抒怀。七里濑在浙江桐庐严陵山下，即严子陵隐居垂钓处。苏轼由杭州赴密州途中经过此处，见溪山清景，追怀严陵与光武帝的故事，而生「君臣一梦」之慨。此词写溪景：「一叶舟轻，双桨鸿惊」写一叶舟轻、双桨鸿惊——写尽舟行的轻快（一叶舟轻，双桨鸿惊）；「水天清、影湛波平」写水天清、影湛波平——写尽溪水的澄澈（水天清、影湛波平）；「鱼翻藻鉴，鹭点烟汀」写鱼翻藻鉴、鹭点烟汀——写尽溪山的生机（鱼翻藻鉴，鹭点烟汀）；「过沙溪急，霜溪冷，月溪明」写过沙溪急、霜溪冷、月溪明——写尽溪水的变幻（过沙溪急，霜溪冷，月溪明）；「君臣一梦，今古空名」写君臣一梦、今古空名——写尽今古的空名（君臣一梦，今古空名）；「但远山长，云山乱，晓山青」写但远山长、云山乱、晓山青——写尽远山的青青（但远山长，云山乱，晓山青）。全词以怀古写溪山，写尽溪山的清景与溪山的怀古，是理解苏轼山水词的重要篇章。

Art

The poem's art is the art of the reflection. The boat opens: a, single, leaf, the, boat, light — the boat of the single leaf; the, double, oars, the, wild, geese, startled — the wild geese of the startled. The river follows: the, water, and, the, sky, clear, the, shadows, pure, the, waves, level — the waves of the level; the, fish, turning, the, mirror, of, the, weeds — the fish of the turning; the, egrets, dotting, the, misty, banks — the egrets of the misty banks; passing, the, sandy, creek, the, rapid — the sandy creek of the rapid; the, frosty, creek, the, cold — the frosty creek of the cold; the, moonlit, creek, the, bright — the moonlit creek of the bright; the, layered, like, the, painting — the layered of the painting; the, winding, like, the, screen — the winding of the screen. The reflection follows: counting, the, years, of, the, past, the, Yan, Ling, in, vain, old — the Yan Ling of the in vain old; the, sovereign, and, the, minister, one, dream — the dream of the sovereign and the minister; the, present, and, the, ancient, the, empty, fame — the empty fame of the present and the ancient. And the close gathers the mountains: but, the, distant, mountains, long — the distant mountains of the long; the, cloudy, mountains, the, confusion — the cloudy mountains of the confusion; the, dawn, mountains, the, green — the dawn mountains of the green — the boat, the river and the close's reflection, gathered in the poem.

此词的艺术特色可从四个方面解析。其一，以白描写舟行。「一叶舟轻，双桨鸿惊」以白描写舟行——那「舟轻」「双桨鸿惊」写尽舟行的轻快，以白描写尽溪山的清景。其二，以铺陈写清景。「水天清、影湛波平」以铺陈写清景——那「水天清」「影湛波平」写尽溪水的澄澈，以铺陈写尽溪山的清景。其三，以排比写变幻。「过沙溪急，霜溪冷，月溪明」以排比写变幻——那「沙溪急」「霜溪冷」「月溪明」写尽溪水的三态，以排比写尽溪山的变幻。其四，以议论写怀古。「君臣一梦，今古空名」以议论写怀古——那「君臣一梦」「今古空名」写尽今古的空名，以议论写尽溪山的怀古。此外，此词上片写溪山的清景，下片写溪山的怀古，由景及理，正是山水词「即景悟理」的写法。四重手法，使此词以怀古写溪山，写尽溪山的清景与溪山的怀古，是苏轼的代表作。此词还善于以「鱼翻藻鉴，鹭点烟汀」的工对写动景——那「鱼翻」对「鹭点」，「藻鉴」对「烟汀」，一动一静、一近一远，正是以工对写溪山生机的写法。又善以「重重似画，曲曲如屏」的叠语写山势——重重、曲曲，以画屏为喻，写尽溪山的如画，也暗含「人在画中游」的意境。

Allusions

'The rapid of the Seven Li' (qi li lai) is the rapid of the Seven Li — the rapid of the Seven Li, the passing of the opening; 'the Yan Ling' (yan ling) is the Yan Ling — the Yan Ziling, the fishing of the middle; 'the empty fame' (kong ming) is the empty fame — the fame of the empty, the reflection of the close.

此词的用语深植于溪山与怀古的传统。「鸿惊」令人想到「鸿惊」写舟行的意象——也令人想到「惊起一滩鸥鹭」（李清照）的意象；「藻鉴」令人想到「藻鉴」写水草的意象——也令人想到「澄江静如练」（谢朓）的意象；「烟汀」令人想到「烟汀」写汀洲的意象——也令人想到「烟波江上使人愁」（崔颢）的意象；「严陵」令人想到「严陵」用严子陵之典——严光与光武帝刘秀为故交，却隐居富春山垂钓，也令人想到「严陵濑」的意象；「君臣一梦」令人想到「君臣一梦」写君臣的意象——也令人想到「功名富贵若长在」（李白）的意象；「远山长，云山乱，晓山青」令人想到「远山」写远山的意象——也令人想到「山色有无中」（王维）的意象。全词化用鸿惊、藻鉴、烟汀、严陵、君臣一梦、远山长的意象典故，以怀古写溪山，正是苏轼「旷达」而善悟理、承山水传统写怀古的本领。「严陵」典出《后汉书·严光传》——严光字子陵，与光武帝刘秀少时同游学，刘秀即位后欲授其官职，严光不受，归隐富春山，垂钓于七里濑，后人名其处为严陵濑。苏轼「算当年、虚老严陵」正是由七里濑追怀严光，「虚老」二字暗含对求名不隐的议论。

Commentary

This poem is one of the famous works of Su Shi's poems of the rivers, quoted for the clarity of its middle and the reflection of its close. The fish of the turning the mirror, and the dawn mountains of the green, are among the admired passages of the poet's poems. Critics praise the poem's reflection: the river gathered in the fame, to the close's mountains.

此词历来被推为苏轼山水词的名篇，也是宋词写七里濑的代表。历代论者对此词评价极高：清人评此词「以怀古写溪山，清旷超逸」；近人更指出「君臣一梦，今古空名」写溪山的怀古，是此词的名句。在词史上，此词的特殊价值在于：它以双调的行香子写尽溪山的清景与溪山的怀古——那一叶舟，那双桨，那水天，那影湛，那波平，那鱼翻，那藻鉴，那鹭点，那烟汀，那沙溪，那霜溪，那月溪，那重重似画，那曲曲如屏，那严陵，那君臣一梦，那今古空名，那远山长，那云山乱，那晓山青，都写尽了苏轼笔下的七里濑；那「君臣一梦，今古空名」更以议论写尽溪山的怀古。此词与苏轼《念奴娇·赤壁怀古》（「大江东去」）同为怀古名篇，一写「浪淘尽，千古风流人物」的赤壁（念奴娇），一写「君臣一梦，今古空名」的七里濑（行香子）；又与柳宗元「孤舟蓑笠翁」的严陵传统一脉相承，可见中国词写山水怀古的传统。对于今日读者，此词是理解苏轼山水词的窗口，也是中国词写溪山的经典——那青青的晓山，穿越千年，仍在诉说着君臣一梦的旷达。

Prosody

Form A ci of the tune of the Pilgrim's, Incense (xingxiangzi)词·行香子

Rhyme The poem rhymes on the level of the group — the cadence of the ci that carries the philosophical reflection.押「惊」「平」「汀」「明」「屏」「陵」「名」「青」韵（下平八庚/九青），一韵到底，音节清旷

Tone pattern The cadence is that of the reflection: the level opening with the boat, the turning with the river, and the close's fall with the mountains.此词为行香子词牌，押平声韵，一韵到底，音节清旷，正合溪山的清旷。

Reading note The poem's sound matches its clarity: the cadences of the ci, and the close — 'dan yuan shan chang' — falls with the long, the sound of the reflection of the river poet.此词为《行香子》双调，上片六句、下片六句——「一叶舟轻，双桨鸿惊。水天清、影湛波平。鱼翻藻鉴，鹭点烟汀。过沙溪急，霜溪冷，月溪明。重重似画，曲曲如屏。算当年、虚老严陵。君臣一梦，今古空名。但远山长，云山乱，晓山青」，押「庚」「青」韵（惊、平、汀、明、屏、陵、名、青），一韵到底，音节清旷。全词以怀古写溪山：上片写溪山的清景（水天清、影湛波平、鱼翻藻鉴），下片写溪山的怀古（算当年、虚老严陵、君臣一梦）。双调长篇，上写清景，下写怀古，以「君臣一梦，今古空名」写尽溪山的怀古，正见苏轼「旷达」的本色。诵读此词，宜以清旷的语调读「水天清、影湛波平」的清景，以旷达的语调读「君臣一梦，今古空名」的怀古，结句要读得清旷而有余韵，方能传达出苏轼的清旷超逸。苏轼词以「旷达」著称，此词正是其山水词的代表。

Line by line

君臣一梦，今古空名

Ruler and minister, a single dream; through all ages, an empty name.

君臣一梦，今古空名。

Ruler and minister have been a dream; past and present, renown is empty.

此二句是全词写怀古的核心，以君臣一梦写君臣，以今古空名写空名，写尽溪山的怀古，是千古名句。「君臣一梦」写君臣一梦——那「君臣」写君臣，「一梦」写一梦，写尽君臣的如梦；「今古空名」写今古空名——那「今古」写今古，「空名」写空名，写尽今古的空名。这句的深意在于：它以「君臣一梦」的君臣与「今古空名」的空名，写尽溪山的怀古——君臣一梦，那「君臣一梦」写尽君臣的如梦——君臣相知，终归一梦，正是对严陵故事的追怀，那「一梦」写尽今古的如梦；今古空名，那「今古空名」写尽今古的空名——今古功名，皆属空名，正是对名利的看破，那「空名」写尽溪山的怀古；那「君臣一梦」写尽君臣的如梦，那「今古空名」写尽今古的空名，一写君臣，一写空名，写尽溪山的怀古——君臣一梦而空名千古，正是对历史的彻悟；此二句以君臣、空名写尽溪山的怀古，也让此二句成为全词写怀古的核心与千古名句。若换作直说「功名都是空的」，则失其旷达；唯以「君臣一梦」写君臣、「今古空名」写空名，写尽溪山的怀古，也让此二句成为全词写怀古的核心。

These lines are the meditation heart of the ci on七里濑, ruler and minister as a dream, renown empty through the ages. 'Ruler and minister, a dream' reflects on the famous friendship of Emperor Guangwu and the hermit Yan Guang at this very stream; 'past and present, empty name' resolves it—all fame is empty. The couplet turns the scenic passage through the rapids into a historical reckoning, Su Shi's detachment at the site of Yan's recluse-fish. If stated as 'fame is all empty,' the ease would vanish; only through 'ruler and minister, a dream' and 'empty name' does the historical thought become airy.

过沙溪急，霜溪冷，月溪明

Past the sandy rapids—swift; the frosted stream—cold; the moonlit stream—bright.

过沙溪急，霜溪冷，月溪明。

By the sandy shallows the stream is swift; by frost it is cold; beneath the moon it is bright.

此三句是全词写变幻的核心，以过沙溪急写沙溪，以霜溪冷写霜溪，以月溪明写月溪，写尽溪水的变幻，是千古名句。「过沙溪急」写过沙溪急——那「沙溪」写沙溪，「急」写急，写尽沙溪的湍急；「霜溪冷」写霜溪冷——那「霜溪」写霜溪，「冷」写冷，写尽霜溪的清冷；「月溪明」写月溪明——那「月溪」写月溪，「明」写明，写尽月溪的明亮。这句的深意在于：它以「过沙溪急」的沙溪与「霜溪冷，月溪明」的霜月，写尽溪水的变幻——过沙溪急，那「过沙溪急」写尽沙溪的湍急——沙溪水急，正是过滩的写照，那「急」写尽溪水的湍急；霜溪冷，那「霜溪冷」写尽霜溪的清冷——霜溪清冷，正是霜晨的写照，那「冷」写尽溪水的清冷；月溪明，那「月溪明」写尽月溪的明亮——月溪明亮，正是月夜的写照，那「明」写尽溪水的明亮；那「过沙溪急」写尽沙溪的湍急，那「霜溪冷，月溪明」写尽霜月的溪水，一写急，一写冷明，写尽溪水的变幻——沙溪急而霜溪冷月溪明，正是舟行三时的写照；此三句以沙溪、霜溪、月溪写尽溪水的变幻，也为下片的怀古作铺垫，也让此三句成为全词写变幻的核心与千古名句。若换作直说「溪水一段一段不一样」，则失其清丽；唯以「过沙溪急」写沙溪、「霜溪冷，月溪明」写霜月，写尽溪水的变幻，也让此三句成为全词写变幻的核心。

These three lines are the mutability heart of the ci, the stream three ways—swift in sand, cold in frost, bright in moonlight. 'Past the sandy shallows, swift' writes the rapids; 'the frosted stream, cold' the frosty morning; 'the moonlit stream, bright' the night passage. The same water, seen at three moments, changes its quality, the boatman's journey traced through the stream's temper. The triplet of one noun and one adjective gives the passage its clear, lyrical rhythm. If stated as 'the stream changes along the way,' the beauty would vanish; only through the swift, the cold, and the bright does the shifting water become vivid.

Study

Word focus

清 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「水天清、影湛波平」之「清」字是写溪水的关键词，一个「清」字写尽溪水的澄澈。清者，澄澈、清朗也。苏轼以「水天清、影湛波平」写溪水，这个「清」字至少有双重意味：其一，写水之清——那「水天清、影湛波平」写水天清、影湛波平，那「清」字写尽溪水的澄澈——水天俱清，正是溪水明净的写照，那「清」字写尽溪山的清景；其二，写境之净——那「清」字更是写境——清，正见境界的清朗，那「清」字写尽舟行的闲适。以「清」字写溪水，正是苏轼写溪山的枢纽——若换作「澄」「碧」等字，则或失其与「水天」「影湛波平」的配合，或失其写清的意味；唯「清」字，以水天清、影湛波平写尽溪水的澄澈与境界的清朗，与「鱼翻藻鉴，鹭点烟汀」的生机相合，写尽溪山的清景，也让「水天清、影湛波平」成为全词写溪水的名句。

青 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「晓山青」之「青」字是写远山的关键词，一个「青」字写尽远山的青青。青者，青翠、常青也。苏轼以「但远山长，云山乱，晓山青」写远山，这个「青」字至少有双重意味：其一，写山之青——那「晓山青」写晓山青，那「青」字写尽远山的青翠——晓山青青，正是远山的写照，那「青」字写尽远山的常青；其二，写理之恒——那「青」字更是写恒——青，正见山色的恒常，那「青」字写尽「今古空名」之后的永恒。以「青」字写远山，正是苏轼写溪山的枢纽——若换作「翠」「绿」等字，则或失其与「远山长」「云山乱」的配合，或失其写青的意味；唯「青」字，以晓山青写尽远山的青翠与山色的恒常，与「君臣一梦，今古空名」的空名相合，写尽溪山的旷达，也让「但远山长，云山乱，晓山青」成为全词写远山的名句。