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唐 Tang · 诗 Poem

遗爱寺

The, Temple, of, the, Remaining, Love

白居易

Bai Juyi

山水Landscape 闲适Leisure

弄日临溪坐，寻花绕寺行。
时时闻鸟语，处处是泉声。

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Meaning

A poem of the temple and the ease, written by Bai Juyi. Playing with the sun sitting by the creek, seeking the flowers walking around the temple — the temple of the opening. From time to time hearing the songs of the birds, everywhere it is the sounds of the springs — the sounds of the close. The poem is the temple and the ease: the creek, the flowers, and the close's springs.

弄日临溪坐，寻花绕寺行。时时闻鸟语，处处是泉声。

Appreciation

[Plain Paraphrase] Playing, with, the, sun, sitting, by, the, creek, seeking, the, flowers, walking, around, the, temple. From, time, to, time, hearing, the, songs, of, the, birds, everywhere, it, is, the, sounds, of, the, springs. [Structure and Thought] The poem moves from the temple of the sitting by the creek with the seeking the flowers, through the hearing of the songs, to the close's the sounds of the springs. [Key Technique] The poem's art is the close of the sounds: from time to time hearing the songs of the birds, and the close's everywhere it is the sounds of the springs — the temple gathered in the hearing and the close's springs. [Emotional Tone] Fine, easy, and fresh: the poem is the creek, the flowers and the close's springs.

【白话串讲】白居易写《遗爱寺》：“弄日临溪坐，寻花绕寺行”——“时时闻鸟语，处处是泉声”——他写遗爱寺的幽静——时时闻鸟语，处处是泉声。【意象与手法】此诗写山水，以闲适写山水，是白居易的名篇。前二句写游赏：「弄日临溪坐，寻花绕寺行」写弄日临溪坐、寻花绕寺行——写尽游赏的闲适；后二句写视听：「时时闻鸟语，处处是泉声」写时时闻鸟语、处处是泉声——写尽山水的声音。全诗以闲适写山水，写尽游赏的闲适与山水的声音，是白居易的代表作。【情感与主旨】此诗写山水，以闲适写山水，是白居易的名篇。此诗写白居易游遗爱寺时的山水闲适。遗爱寺在庐山香炉峰下，白居易贬江州司马时筑草堂于庐山，常游寺寻幽。此诗写游赏：弄日临溪坐，寻花绕寺行——写弄日临溪坐、寻花绕寺行，写尽游赏的闲适；时时闻鸟语，处处是泉声——写时时闻鸟语、处处是泉声，写尽山水的声音。全诗以闲适写山水——那「弄日临溪坐」写尽游赏的闲适，「处处是泉声」写尽山水的声音，写尽游赏的闲适与山水的声音，是理解白居易闲适诗的重要篇章。【名句点睛】常考「弄日临溪坐，寻花绕寺行」写游赏的闲适；「时时闻鸟语，处处是泉声」写山水的声音；以及全诗以闲适写山水、以视听写景的手法。

Background

Bai Juyi (772-846), the great poet of the Tang, wrote this 'The, Temple, of, the, Remaining, Love' of the temple and the ease — the ease of the mountain temple. The sitting by the creek with the seeking the flowers, and the close's the sounds of the springs — the poem gathers the ease of the poet, the charm of the temple. The poem is one of the famous works of the poet's poems of the nature.

此诗写山水，以闲适写山水，是白居易的名篇。白居易（772—846），字乐天，号香山居士，又号醉吟先生，下邽（今陕西渭南）人，唐代诗人，与元稹并称「元白」，与新乐府运动相关，为唐代存诗最多的诗人。此诗写白居易游遗爱寺时的山水闲适。遗爱寺在庐山香炉峰下，白居易贬江州司马时筑草堂于庐山，常游寺寻幽。此诗写游赏：「弄日临溪坐，寻花绕寺行」写弄日临溪坐、寻花绕寺行——写尽游赏的闲适（弄日临溪坐，寻花绕寺行）；「时时闻鸟语，处处是泉声」写时时闻鸟语、处处是泉声——写尽山水的声音（时时闻鸟语，处处是泉声）。全诗以闲适写山水，写尽游赏的闲适与山水的声音，是理解白居易闲适诗的重要篇章。遗爱寺在庐山香炉峰下，白居易贬江州（今江西九江）司马时，于香炉峰下筑草堂而居，常游遗爱寺等庐山胜迹。白居易《庐山草堂记》云「匡庐奇秀，甲天下山」，可见其对庐山山水的喜爱。此诗即写游遗爱寺时的山水闲适，为其庐山诸诗之一。

Art

The poem's art is the art of the sounds. The temple opens: playing, with, the, sun, sitting, by, the, creek — the sun of the sitting; seeking, the, flowers, walking, around, the, temple — the flowers of the seeking. The sounds follow: from, time, to, time, hearing, the, songs, of, the, birds — the songs of the birds; everywhere, it, is, the, sounds, of, the, springs — the sounds of the springs — the temple, the ease and the close's sounds, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以白描写游赏。「弄日临溪坐」以白描写游赏——那「弄日」「临溪坐」写尽临溪的坐赏，以白描写尽游赏的闲适。其二，以对仗写行游。「寻花绕寺行」以对仗写行游——那「寻花」「绕寺行」写尽绕寺的寻游，以对仗写尽游赏的行踪。其三，以叠词写鸟语。「时时闻鸟语」以叠词写鸟语——那「时时」写尽鸟语的时闻，以叠词写尽山水的声音。其四，以铺陈写泉声。「处处是泉声」以铺陈写泉声——那「处处」写尽泉声的处处，以铺陈写尽山水的声音。此外，此诗前二句写游赏的闲适，后二句写山水的声音，由行及闻，正是山水诗「即景即闻」的写法。四重手法，使此诗以闲适写山水，写尽游赏的闲适与山水的声音，是白居易的代表作。此诗还善于以「时时」「处处」的叠词写声景的遍布——那「时时闻鸟语，处处是泉声」写鸟语时闻、泉声处处，正是以叠词写山水声音无处不在的写法，两句对仗工整而浑成。又善以「弄日临溪坐」的「弄」字写闲——弄日，写日光与人的亲昵，一个「弄」字写尽山水的可亲与闲适的自在。

Allusions

'The temple of the remaining love' (yi ai si) is the temple of the remaining love — the temple of the Yi'ai, the opening of the poem; 'the springs' (quan) are the springs — the springs of the sounds, the close of the poem.

此诗的用语深植于山水与闲适的传统。「弄日」令人想到「弄日」写戏弄日光的意象——也令人想到「弄花香满衣」（于良史）的意象；「临溪」令人想到「临溪」写临溪的意象——也令人想到「清泉石上流」（王维）的意象；「寻花」令人想到「寻花」写寻花的意象——也令人想到「江畔独步寻花」（杜甫）的意象；「绕寺」令人想到「绕寺」写绕寺的意象——也令人想到「深山藏古寺」的意象；「鸟语」令人想到「鸟语」写鸟鸣的意象——也令人想到「鸟鸣山更幽」（王籍）的意象；「泉声」令人想到「泉声」写泉声的意象——也令人想到「时时闻鸟语，处处是泉声」的名句。全诗化用弄日、临溪、寻花、绕寺、鸟语、泉声的意象，以闲适写山水，正是白居易「平易」而善写闲、承山水传统写声景的本领。「鸟语」令人想到王籍《入若耶溪》「蝉噪林逾静，鸟鸣山更幽」的以声衬静，也令人想到王维「月出惊山鸟，时鸣春涧中」的鸟鸣意象。「泉声」令人想到王维《山居秋暝》「清泉石上流」的泉声意象，也令人想到李白《望庐山瀑布》「飞流直下三千尺」的庐山泉瀑。白居易以鸟语、泉声写遗爱寺，正承唐人写庐山山水的传统。

Commentary

This poem is one of the famous works of Bai Juyi's poems of the nature, quoted for the ease of its opening and the freshness of its close. The songs of the birds, and the sounds of the springs, are among the admired passages of the poet's poems. Critics praise the poem's ease: the temple gathered in the hearing, to the close's springs.

此诗历来被推为白居易山水诗的名篇，也是唐人写庐山遗爱寺的代表。历代论者对此诗评价极高：清人评此诗「以闲适写山水，平易清新」；近人更指出「处处是泉声」写山水的声音，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游赏的闲适与山水的声音——那弄日，那临溪，那坐，那寻花，那绕寺，那行，那时时，那鸟语，那处处，那泉声，都写尽了白居易笔下的遗爱寺；那「处处是泉声」更以铺陈写尽山水的声音。此诗与白居易《大林寺桃花》（「人间四月芳菲尽」）同为庐山名篇，一写「山寺桃花始盛开」的桃花（大林寺桃花），一写「处处是泉声」的泉声（遗爱寺）；又与王维「明月松间照」的山水传统一脉相承，可见中国诗写山水的传统。对于今日读者，此诗是理解白居易闲适诗的窗口，也是中国诗写山水的经典——那处处的泉声，穿越千年，仍在诉说着山水的闲适。

Prosody

Form A quatrain of the temple (wu yan jue ju)诗·五言绝句

Rhyme The poem rhymes on the level of the group — the cadence of the quatrain that carries the fresh ease.五绝，押「行」「声」韵（下平八庚），一韵到底，音节平易

Tone pattern The cadence is that of the sounds: the level opening with the temple, the turning with the hearing, and the close's fall with the springs.此诗为五言绝句，押平声韵，一韵到底，音节平易，正合山水的平易。

Reading note The poem's sound matches its freshness: the cadences of the quatrain, and the close — 'chu chu shi quan sheng' — falls with the springs, the sound of the ease of the temple poet.此诗为五言绝句，四句——「弄日临溪坐，寻花绕寺行。时时闻鸟语，处处是泉声」，押「庚」韵（行、声），一韵到底，音节平易。全诗以闲适写山水：前二句写游赏的闲适（弄日临溪坐、寻花绕寺行），后二句写山水的声音（时时闻鸟语、处处是泉声）。四句短章，前写游赏，后写声音，以「处处是泉声」写尽山水的声音，正见白居易「平易」的本色。诵读此诗，宜以平易的语调读「弄日临溪坐」的闲适，以轻快的语调读「处处是泉声」的声音，结句要读得平易而有余韵，方能传达出白居易的平易清新。白居易绝句以「平易」著称，此诗正是其山水绝句的典范。

Line by line

时时闻鸟语，处处是泉声

Now and then I hear birdsong; on every side there is the sound of springs.

时时闻鸟语，处处是泉声。

At every moment I hear bird voices; on every side there is the noise of springs.

此二句是全诗写声音的核心，以时时闻鸟语写鸟语，以处处是泉声写泉声，写尽山水的声音，是千古名句。「时时闻鸟语」写时时闻鸟语——那「时时」写时时，「闻鸟语」写闻鸟语，写尽鸟语的时闻；「处处是泉声」写处处是泉声——那「处处」写处处，「是泉声」写是泉声，写尽泉声的处处。这句的深意在于：它以「时时闻鸟语」的鸟语与「处处是泉声」的泉声，写尽山水的声音——时时闻鸟语，那「时时闻鸟语」写尽鸟语的时闻——时时闻鸟语，正是山鸟不惊的写照，那「时时」写尽山水的声音；处处是泉声，那「处处是泉声」写尽泉声的处处——处处是泉声，正是泉流不断的写照，那「处处」写尽山水的声音；那「时时闻鸟语」写尽鸟语的时闻，那「处处是泉声」写尽泉声的处处，一写鸟语，一写泉声，写尽山水的声音——时时鸟语而处处泉声，正是山水的交响；此二句以鸟语、泉声写尽山水的声音，也让此二句成为全诗写声音的核心与千古名句。若换作直说「山里很安静」，则失其生机；唯以「时时闻鸟语」写鸟语、「处处是泉声」写泉声，写尽山水的声音，也让此二句成为全诗写声音的核心。

These lines are the sound heart of the poem, birdsong heard from time to time and springs sounding everywhere. 'Now and then birdsong' writes the intermittent calls of mountain birds; 'on every side, springs' writes the continual water. Time and space—the birds now and then, the springs everywhere—fill the mountain temple with a double sound. The pairing of birdsong and spring-water is the symphony of the hills. If stated as 'the mountains are quiet,' the life would vanish; only through the birdsong and the springs does the silence become alive.

弄日临溪坐，寻花绕寺行

Playing in the sun, I sit by the stream; seeking flowers, I walk around the temple.

弄日临溪坐，寻花绕寺行。

Dallying in the sun, I sit by the brook; searching for blossoms, I stroll around the temple.

此二句是全诗写游赏的核心，以弄日临溪坐写临溪，以寻花绕寺行写寻花，写尽游赏的闲适，是千古名句。「弄日临溪坐」写弄日临溪坐——那「弄日」写弄日，「临溪坐」写临溪坐，写尽临溪的坐赏；「寻花绕寺行」写寻花绕寺行——那「寻花」写寻花，「绕寺行」写绕寺行，写尽绕寺的寻游。这句的深意在于：它以「弄日临溪坐」的临溪与「寻花绕寺行」的寻花，写尽游赏的闲适——弄日临溪坐，那「弄日临溪坐」写尽临溪的坐赏——临溪而坐，弄日怡情，正是闲适的写照，那「弄日」写尽游赏的闲适；寻花绕寺行，那「寻花绕寺行」写尽绕寺的寻游——绕寺寻花，信步而行，正是寻幽的写照，那「寻花」写尽游赏的闲适；那「弄日临溪坐」写尽临溪的坐赏，那「寻花绕寺行」写尽绕寺的寻游，一写坐，一写行，写尽游赏的闲适——临溪而坐而绕寺寻花，正是山水游赏的写照；此二句以临溪、寻花写尽游赏的闲适，也为后文的鸟语泉声作铺垫，也让此二句成为全诗写游赏的核心与千古名句。若换作直说「我在溪边坐了一会儿又去赏花」，则失其闲雅；唯以「弄日临溪坐」写临溪、「寻花绕寺行」写寻花，写尽游赏的闲适，也让此二句成为全诗写游赏的核心。

These lines are the roaming heart of the poem, sitting by the stream and walking around the temple for flowers. 'Playing in the sun, sitting by the stream' writes the leisure of resting at the water; 'seeking flowers, walking around the temple' writes the wandering walk in search of blooms. Sitting and walking, by the stream and round the temple, trace a day's idle pleasure. If stated as 'I sat by the stream and went to see flowers,' the elegance would fade; only through 'playing in the sun' and 'seeking flowers' does the roaming become graceful.

Study

Word focus

弄 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「弄日临溪坐」之「弄」字是写闲适的关键词，一个「弄」字写尽临溪的闲赏。弄者，戏弄、赏玩也。白居易以「弄日临溪坐」写闲适，这个「弄」字至少有双重意味：其一，写日之弄——那「弄日临溪坐」写弄日临溪坐，那「弄」字写尽日光的戏弄——弄日临溪，正是闲赏的写照，那「弄」字写尽游赏的闲适；其二，写情之闲——那「弄」字更是写闲——弄，正见赏玩的闲逸，那「弄」字写尽山水的闲适。以「弄」字写闲适，正是白居易写山水的枢纽——若换作「对」「望」等字，则或失其与「日」「临溪坐」的配合，或失其写弄的意味；唯「弄」字，以弄日临溪坐写尽日光的戏弄与赏玩的闲逸，与「寻花绕寺行」的寻花相合，写尽游赏的闲适，也让「弄日临溪坐」成为全诗写闲适的名句。

处处 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「处处是泉声」之「处处」是写泉声的关键词，一个「处处」写尽泉声的遍布。处处者，到处、处处也。白居易以「处处是泉声」写泉声，这个「处处」至少有双重意味：其一，写声之遍——那「处处是泉声」写处处是泉声，那「处处」写尽泉声的遍布——处处是泉声，正是泉流不断的写照，那「处处」写尽山水的声音；其二，写境之幽——那「处处」更是写幽——处处，正见山水的幽深，那「处处」写尽山水的清幽。以「处处」写泉声，正是白居易写山水的枢纽——若换作「满耳」「四野」等词，则或失其与「是泉声」「时时闻鸟语」的配合，或失其写处处的意味；唯「处处」二字，以处处是泉声写尽泉声的遍布与山水的幽深，与「时时闻鸟语」的时时相合，写尽山水的声音，也让「处处是泉声」成为全诗写泉声的名句。

遗爱寺