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魏晋 Wei-Jin · 诗 Poem

移居·其二

Moving House, No. 2

陶渊明

Tao Yuanming

田园Pastoral 友情Friendship

春秋多佳日，登高赋新诗。
过门更相呼，有酒斟酌之。
农务各自归，闲暇辄相思。
相思则披衣，言笑无厌时。
此理将不胜，无为忽去兹。
衣食当须纪，力耕不吾欺。

The seasons offer many fine days; I climb to write new poems.
They call across to me as they pass my door, and we share wine, pouring and sipping.
Each returns to his own farm work; in leisure we think of each other.
When we think of each other, I put on my clothes and go; our talk and laughter never tire us.
This life is surely hard to beat, so let me not lightly leave this place.
Clothing and food must be provided for; honest labour will not deceive me.

Listen

Meaning

Tao Yuanming describes his life after moving to the southern village: fine days for climbing and composing poems, neighbours calling across the door with wine to share in common, the rhythm of farm work and of idle thinking of one another, and visits made in readiness. He concludes that this life is hard to beat and that he will not lightly leave it, since clothing and food must be earned by hard cultivation.

春秋多佳日，登高赋新诗。过门更相呼，有酒斟酌之。农务各自归，闲暇辄相思。相思则披衣，言笑无厌时。此理将不胜，无为忽去兹。衣食当须纪，力耕不吾欺。

Appreciation

[Plain Paraphrase] The poem is a plain account of the neighbourhood: fine seasons, climbing and writing, neighbours calling with wine, farm work and idle missings, and visits back and forth. [Structure] The first half is the joy of companionship, the second half turns to the principle behind it — that this life cannot be beat, and that it rests on honest labour. [Language] Almost every word belongs to daily speech, and nothing is polished; the charm lies in that refusal. [Technique] The poet moves from to enjoyment to reasoning, and the closing couplet is what keeps the joy from being trivial: the happiness is founded on earning one's own living. The poem is short, plain, and yet complete.

【白话串讲】陶渊明写《移居·其二》：“春秋多佳日，登高赋新诗”——“过门更相呼，有酒斟酌之”——“农务各自归，闲暇辄相思”——“相思则披衣，言笑无厌时”——“衣食当须纪，力耕不吾欺”——他写与邻人的田园生活。【意象与手法】此诗写田园，以邻里写田园，是陶渊明的名篇。前六句写邻里：「春秋多佳日，登高赋新诗。过门更相呼，有酒斟酌之。农务各自归，闲暇辄相思」写春秋多佳日、登高赋新诗——写尽过门更相的呼；后四句写劳作：「相思则披衣，言笑无厌时。此理将不胜，无为忽去兹。衣食当须纪，力耕不吾欺」写相思则披衣、言笑无厌时——写尽力耕不吾的欺。全诗以邻里写田园，写尽过门更相的呼与力耕不吾的欺，是陶渊明的代表作。【情感与主旨】此诗写田园，以邻里写田园，是陶渊明的名篇。此诗为陶渊明写其移居南村后与邻里的交往，写其田园生活的乐趣。陶渊明移居南村，此诗写其邻里情谊。此诗写春秋多佳日，登高赋新诗；过门更相呼，有酒斟酌之；农务各自归，闲暇辄相思；相思则披衣，言笑无厌时；此理将不胜，无为忽去兹；衣食当须纪，力耕不吾欺。此诗写邻里：春秋多佳日，登高赋新诗——写春秋多佳日、登高赋新诗，写尽登高赋新的诗；过门更相呼，有酒斟酌之——写过门更相呼、有酒斟酌之，写尽过门更相的呼；农务各自归，闲暇辄相思——写农务各自归、闲暇辄相思，写尽闲暇辄相的思；相思则披衣，言笑无厌时——写相思则披衣、言笑无厌时，写尽言笑无厌的时；此理将不胜，无为忽去兹——写此理将不胜、无为忽去兹，写尽无为忽去的兹；衣食当须纪，力耕不吾欺——写衣食当须纪、力耕不吾欺，写尽力耕不吾的欺。全诗以邻里写田园——那「过门更相呼」写尽过门更相的呼，「力耕不吾欺」写尽力耕不吾的欺，写尽过门更相的呼与力耕不吾的欺，是理解陶渊明田园诗的重要篇章。【名句点睛】常考「过门更相呼，有酒斟酌之」写过门更相的呼；「衣食当须纪，力耕不吾欺」写尽力耕不吾的欺；以及全诗以邻里写田园、以白描写田园的手法。

Background

Tao Yuanming (c. 365–427), one name Qian, courtesy name Yuanliang, posthumously styled Jiejie, self-styled the Five Willow Gentleman, was from Xunyang (modern Jiujiang, Jiangxi) and is China's first pastoral poet, known as 'the ancestor of recluse poets through the ages'. This poem describes his settlement in the southern village and his relations with the neighbours — that is, the neighbourhood that made the move worth making. It is a short poem of twelve lines; the first lines unfold the joy of the neighbourhood, the last the way of life behind it, and the whole is of a piece with Tao Yuanming's character.

此诗写田园，以邻里写田园，是陶渊明的名篇。陶渊明（约365—427），一名潜，字元亮，私谥靖节，自号五柳先生，浔阳柴桑（今江西九江）人，东晋末至南朝宋初诗人、辞赋家，中国第一位田园诗人，被称为「古今隐逸诗人之宗」。此诗为陶渊明写其移居南村后与邻里的交往，写其田园生活的乐趣。陶渊明移居南村，此诗写其邻里情谊。此诗写春秋多佳日，登高赋新诗；过门更相呼，有酒斟酌之；农务各自归，闲暇辄相思；相思则披衣，言笑无厌时；此理将不胜，无为忽去兹；衣食当须纪，力耕不吾欺。此诗写邻里：「春秋多佳日，登高赋新诗」写春秋多佳日、登高赋新诗——写尽登高赋新的诗（春秋多佳日，登高赋新诗）；「过门更相呼，有酒斟酌之」写过门更相呼、有酒斟酌之——写尽过门更相的呼（过门更相呼，有酒斟酌之）；「农务各自归，闲暇辄相思」写农务各自归、闲暇辄相思——写尽闲暇辄相的思（农务各自归，闲暇辄相思）；「相思则披衣，言笑无厌时」写相思则披衣、言笑无厌时——写尽言笑无厌的时（相思则披衣，言笑无厌时）；「此理将不胜，无为忽去兹」写此理将不胜、无为忽去兹——写尽无为忽去的兹（此理将不胜，无为忽去兹）；「衣食当须纪，力耕不吾欺」写衣食当须纪、力耕不吾欺——写尽力耕不吾的欺（衣食当须纪，力耕不吾欺）。全诗以邻里写田园，写尽过门更相的呼与力耕不吾的欺，是理解陶渊明田园诗的重要篇章。

Art

The poem has four distinguishable techniques: plain description of fine days ('many fine days' is said plainly, 'I climb and write new poems'); plain description of the neighbours ('they call as they pass my door'); parallelism for the thinking of each other ('each returns to his farm work, in leisure we think of one another'); and argument for the labour ('clothing and food must be provided, honest labour will not deceive me'). Beyond these, the poem moves from joy to principle — from the pleasures of the neighbourhood to the ground of them — which is the way a pastoral poem makes its fun into something worth having. The two closing lines turn the rejoicing towards labour, so that the joy rests on self-support; and that is the essence of Tao Yuanming's 'plain style with a rational flavour'. He writes ordinary words, like 'calling across the door' and 'putting on my clothes', and the truth of the feeling shows through without ornament.

此诗的艺术特色可从四个方面解析。其一，以白描写佳日。「春秋多佳日」以白描写佳日——那「登高赋新诗」写尽登高赋新的诗，以白描写尽登高赋新的诗。其二，以白描写邻里。「过门更相呼」以白描写邻里——那「有酒斟酌之」写尽有酒斟酌的之，以白描写尽过门更相的呼。其三，以对偶写相思。「农务各自归」以对偶写相思——那「闲暇辄相思」写尽闲暇辄相的思，以对偶写尽言笑无厌的时。其四，以议论写劳作。「衣食当须纪」以议论写劳作——那「力耕不吾欺」写尽力耕不吾的欺，以议论写尽力耕不吾的欺。此外，此诗前写过门更相的呼，后写力耕不吾的欺，由乐及理，正是田园诗「以理写趣」的写法。四重手法，使此诗以邻里写田园，写尽过门更相的呼与力耕不吾的欺，是陶渊明的代表作。又，此诗以「过门更相呼」「言笑无厌时」等家常语写邻里之乐，不着华饰而真情自见；末二句忽转「衣食当须纪，力耕不吾欺」，由乐境落到劳作之旨，把田园之趣建立在自食其力之上，正是陶渊明「平淡之中寓理趣」的本色。

Allusions

The language belongs to the tradition of pastoral and neighbourhood. 'The seasons' calls to mind the cycle of the year; 'fine days' to the pleasant season, and 'climbing' to the custom of rising to compose on an occasion. 'Passing my door and calling to each other' is the common speech of a village street, and also belongs to the line of poems of hospitality. 'Share wine, pouring and sipping' is the wine of the fields, and called to mind the 'wine' of 'Drinking Wine' and of the poem on returning to the fields. 'Thinking of each other' follows the 'longing' of the 'Book of Songs' and of 'Encountering Sorrow'. 'Putting on my clothes and going' is a readiness to visit, plain and unceremonious. 'Clothing and food must be provided' and 'honest labour' close the poem on the cornerstones of the pastoral life. These words are not quoted as citations, but the whole poem stands in the tradition of the pastoral and its neighbourhood, and that is what makes it so plain and yet so deep.

此诗的用语深植于田园与邻里传统。「春秋」令人想到「春秋」写春秋的意象——也令人想到「春秋多佳日」的意象；「佳日」令人想到「佳日」写佳日的意象——也令人想到「良辰美景」的意象；「登高」令人想到「登高」写登高的意象——也令人想到「登高必赋」的意象；「新诗」令人想到「新诗」写新诗的意象——也令人想到「赋新诗」的意象；「过门」令人想到「过门」写过门的意象——也令人想到「过门不入」的意象；「相呼」令人想到「相呼」写相呼的意象——也令人想到「呼朋引伴」的意象；「斟酌」令人想到「斟酌」写斟酒的意象——也令人想到「斟酌再三」的意象；「农务」令人想到「农务」写农事的意象——也令人想到「农务方殷」的意象；「相思」令人想到「相思」写思念的意象——也令人想到「相思一夜」的意象；「披衣」令人想到「披衣」写披衣的意象——也令人想到「披衣起坐」的意象；「言笑」令人想到「言笑」写言笑的意象——也令人想到「言笑晏晏」（《诗经》）的意象；「力耕」令人想到「力耕」写力耕的意象——也令人想到「力耕不吾欺」（陶渊明）的意象。全诗化用春秋、佳日、登高、新诗、过门、相呼、斟酌、农务、相思、披衣、言笑、力耕的意象，以邻里写田园，正是陶渊明「冲淡」而善白描、承田园传统写邻里之本领。

Commentary

This has long been reckoned a masterwork of Tao Yuanming's pastoral verse and the representative poem on neighbourhood feeling. Judges of later generations said of it that it writes a pastoral life through the neighbourhood, simple and natural; modern readers note that the line 'they call as they pass my door' is the poem's famous line. Its special value is that it says in a short poem what it means to live well in the village — and in the last couplet it answers that question with honest labour. Together with 'Moving House, No. 1' ('long ago I wished to live in the southern village') the two poems form the pair of move-poems; the first seeks friends, the second describes the neighbourhood. For a modern reader this poem is a window onto Tao Yuanming's pastoral verse and a classic of neighbourhood feeling in pastoral poetry — the labour that will not deceive still speaks across the centuries.

此诗历来被推为陶渊明田园诗的名篇，也是田园诗写邻里情谊的代表。历代论者对此诗评价极高：清人评此诗「以邻里写田园，真朴自然」；近人更指出「过门更相呼，有酒斟酌之」写过门更相的呼，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以短篇写尽过门更相的呼与力耕不吾的欺——那春秋，那多佳日，那登高，那赋新诗，那过门，那更相呼，那有酒，那斟酌之，那农务，那各自归，那闲暇，那辄相思，那相思，那则披衣，那言笑，那无厌时，那此理，那将不胜，那无为，那忽去兹，那衣食，那当须纪，那力耕，那不吾欺，都写尽了陶渊明笔下的移居其二；那「力耕不吾欺」更以议论写尽力耕不吾的欺。此诗与陶渊明《移居·其一》「昔欲居南村」同为移居名篇，一写「奇文共欣赏」的移居其一，一写「过门更相呼」的移居其二；一写求友，一写邻里。两诗对读，可见陶渊明移居诗的连贯。对于今日读者，此诗是理解陶渊明田园诗的窗口，也是田园诗写邻里情谊的经典——那力耕不吾的欺，穿越千年，仍在诉说着过门更相的呼。

Prosody

Form Five-character ancient poem五言古诗

Rhyme The whole poem rhymes in the level Zhi-Wei rhyme — 'poem', 'of it', 'thinking', 'hour', 'this' and 'deceive' — rhyming on alternate lines, the sound even and open, in keeping with the plainness of the verse.全诗押「诗」「之」「思」「时」「兹」「欺」（平声支微韵），隔句押韵

Tone pattern Five-character ancient style with level rhymes on alternate lines; the sound level and unhurried, in keeping with the plainness of the pastoral. The tone of this poem should be equable — the neighbourhood read in a calm voice, the labour read with seriousness — and the closing line left with a residue.此诗为五言古诗，押平声韵，隔句押韵，音节冲淡，正合田园的冲淡。

Reading note This is a five-character ancient poem: the lines are all five characters, the rhyme falls on alternate lines in the level tone, and the sound is level and unhurried, which is exactly right for the plainness of the content. The poem of twelve lines unfolds in two halves — the joys of the neighbourhood, and the principle that supports them — and the rhyme helps the two halves meet: the first half rhymes on 'poem', 'of it' and 'thinking of each other', the second on 'hour', 'this' and 'deceive', so the sound closes down each section in turn. When reading it, the neighbourhood should be read in an equable voice, the labour with seriousness, and the last line left to hang with something over it. It is the plainest of the ancient styles, and its plainness is precisely the point.此诗为五言古诗——「春秋多佳日，登高赋新诗。过门更相呼，有酒斟酌之。农务各自归，闲暇辄相思。相思则披衣，言笑无厌时。此理将不胜，无为忽去兹。衣食当须纪，力耕不吾欺」，押平韵（诗、之、思、时、兹、欺），隔句押韵，音节冲淡。全诗以邻里写田园：前写过门更相的呼（春秋多佳日、有酒斟酌之），后写力耕不吾的欺（此理将不胜、衣食当须纪）。短章十二句，前写邻里，后写劳作，以「力耕不吾欺」写尽力耕不吾的欺，正见陶渊明「冲淡」的本色。诵读此诗，宜以冲淡的语调读「过门更相呼」的邻里，以笃实的语调读「力耕不吾欺」的劳作，结句要读得冲淡而有余韵，方能传达出陶渊明的真朴自然。陶渊明古诗以「冲淡」著称，此诗正是其田园诗的典范。

Line by line

过门更相呼，有酒斟酌之

They call across as they pass my door, and we share wine, pouring and sipping.

过门更相呼，有酒斟酌之。

Passing each other's doors, they call out to one another; when there is wine, they pour and share it.

此二句是全诗写邻里的核心，以过门更相呼写相呼，以有酒斟酌之写斟酌，写尽过门更相的呼，是千古名句。「过门更相呼」写过门更相呼——那「过门」写过门，「更相呼」写更相呼，写尽过门的更相呼；「有酒斟酌之」写有酒斟酌之——那「有酒」写有酒，「斟酌之」写斟酌之，写尽有酒的斟酌之。这句的深意在于：它以「过门更相呼」的相呼与「有酒斟酌之」的斟酌，写尽过门更相的呼——过门更相呼，那「过门更相呼」写尽过门的更相呼——过门更相呼，正是过门相唤的写照，那「相呼」写尽过门更相的呼；有酒斟酌之，那「有酒斟酌之」写尽有酒的斟酌之——有酒斟酌之，正是有酒共饮的写照，那「斟酌之」写尽有酒的斟酌之；那「过门更相呼」写尽过门的更相呼，那「有酒斟酌之」写尽有酒的斟酌之，一写相呼，一写斟酌，写尽过门更相的呼——过门相唤而有酒共饮，正是邻里的写照；此二句以相呼、斟酌写尽过门更相的呼，也为下文的农务作铺垫，也让此二句成为全诗写邻里的核心与千古名句。若换作直说「过门互相呼唤，有酒就一起斟酌」，则失其真朴；唯以「过门更相呼」写相呼、「有酒斟酌之」写斟酌，写尽过门更相的呼，也让此二句成为全诗写邻里的核心。

These lines are the neighbor heart of the poem, calling across doors and sharing wine. 'Passing the doors, calling to one another' writes the easy greeting of the new neighborhood; 'when there is wine, pour and share it' writes the simple conviviality. The plain diction—the doors, the calls, the pouring—is Tao Yuanming's record of neighborly warmth, unadorned yet affectionate. If stated as 'neighbors call and drink together,' the simplicity would vanish; only through the passing doors and the poured wine does the village friendship breathe.

衣食当须纪，力耕不吾欺

Clothing and food must be provided for; honest labour will not deceive me.

衣食当须纪，力耕不吾欺。

Clothes and food must be managed; earnest farming will not betray me.

此二句是全诗写劳作的核心，以衣食当须纪写须纪，以力耕不吾欺写不吾欺，写尽力耕不吾的欺，是千古名句。「衣食当须纪」写衣食当须纪——那「衣食」写衣食，「当须纪」写当须纪，写尽衣食的当须纪；「力耕不吾欺」写力耕不吾欺——那「力耕」写力耕，「不吾欺」写不吾欺，写尽力耕的不吾欺。这句的深意在于：它以「衣食当须纪」的须纪与「力耕不吾欺」的不吾欺，写尽力耕不吾的欺——衣食当须纪，那「衣食当须纪」写尽衣食的当须纪——衣食当须纪，正是衣食须营的写照，那「须纪」写尽力耕不吾的欺；力耕不吾欺，那「力耕不吾欺」写尽力耕的不吾欺——力耕不吾欺，正是力耕有报的写照，那「不吾欺」写尽力耕不吾的欺；那「衣食当须纪」写尽衣食的当须纪，那「力耕不吾欺」写尽力耕的不吾欺，一写须纪，一写不吾欺，写尽力耕不吾的欺——衣食须营而力耕有报，正是劳作的写照；此二句以须纪、不吾欺写尽力耕不吾的欺，也让此二句成为全诗写劳作的核心与千古名句。若换作直说「衣食应当经营，努力耕种不会辜负我」，则失其笃实；唯以「衣食当须纪」写须纪、「力耕不吾欺」写不吾欺，写尽力耕不吾的欺，也让此二句成为全诗写劳作的核心。

These lines are the labor heart of the poem, clothing and food to be managed and honest farming not betraying. 'Clothes and food must be managed' writes the duty of provision; 'earnest farming will not betray me' is the faith that hard work yields its reward. The closing affirmation—work the fields, and the earth will not lie—is Tao Yuanming's settled confidence in rural life. If stated as 'work the land, it won't let you down,' the gravity would fade; only through 'must be managed' and 'will not betray me' does the steadiness take root.

Study

Word focus

呼 To call, to hail. The single verb that opens the door to the whole neighbourhood: it is a voice across a threshold, unceremonious and uninvited, and it is what makes the companionship easy rather than formal. 「过门更相呼」之「呼」字是写邻里关键词，一个「呼」字写尽过门的更相呼。呼者，呼唤、招呼也。陶渊明以「过门更相呼」写邻里，这个「呼」字至少有双重意味：其一，写人之呼——那「过门更相呼」写过门更相呼，那「呼」字写尽过门的更相呼——相呼，正是互相招呼的写照，那「呼」字写尽过门的更相呼；其二，写情之亲——那「呼」字更是写亲——呼，正见邻里亲密的意味，那「呼」字写尽陶渊明的真朴。以「呼」字写邻里，正是陶渊明写田园的枢纽——若换作「唤」「叫」等字，则或失其与「过门更相呼」「有酒斟酌之」的配合，或失其写呼的意味；唯「呼」字，以过门更相呼写尽招呼之亲热与邻里之情厚，与「有酒斟酌之」的斟酌相合，写尽过门的更相呼，也让「过门更相呼」成为全诗写邻里的名句。

欺 To deceive, to fail. In 'honest labour will not deceive me' the ordinary word takes on the whole weight of the poem's faith: the field answers to anyone who works it, so the life of the village is founded on something that cannot go back on its word. 「力耕不吾欺」之「欺」字是写劳作关键词，一个「欺」字写尽力耕的不吾欺。欺者，欺哄、辜负也。陶渊明以「力耕不吾欺」写劳作，这个「欺」字至少有双重意味：其一，写耕之不欺——那「力耕不吾欺」写力耕不吾欺，那「欺」字写尽力耕的不吾欺——不吾欺，正是不辜负我的写照，那「欺」字写尽力耕的不吾欺；其二，写理之实——那「欺」字更是写实——欺，正见天道酬勤的意味，那「欺」字写尽陶渊明的笃实。以「欺」字写劳作，正是陶渊明写田园的枢纽——若换作「负」「误」等字，则或失其与「力耕不吾欺」「衣食当须纪」的配合，或失其写欺的意味；唯「欺」字，以力耕不吾欺写尽力耕之有报与天道之酬勤，与「衣食当须纪」的须纪相合，写尽力耕的不吾欺，也让「力耕不吾欺」成为全诗写劳作的名句。