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元 Yuan · 散曲 Sanqu song

人月圆·山中书事

Man and Moon Reunited: Recording Events in the Mountains

张可久

Zhang Kejiu

闲适Leisure 感怀Reflection

兴亡千古繁华梦，诗眼倦天涯。
孔林乔木，吴宫蔓草，楚庙寒鸦。
数间茅舍，藏书万卷，投老村家。
山中何事？
松花酿酒，春水煎茶。

The rise and fall of ages is but a dream of splendor;
My poetic eye wearies of roaming the world.
Lofty trees in Confucius' grove,
rank weeds in Wu Palace,
cold crows in Chu Temple.
A few thatched huts, ten thousand volumes of books,
I end my days in the village.
What do I do in the mountains?
Brew wine with pine flowers,
Make tea with spring water.

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Meaning

The poet reflects on the futility of historical glory and finds solace in a simple mountain life, brewing wine and tea.

千古兴亡不过繁华一梦，看遍天涯的诗人之眼早已倦怠。孔子墓园的乔木、吴国宫阙的蔓草、楚地庙宇的寒鸦，皆是历史陈迹。如今我只有数间茅舍、万卷藏书，归老山村。山中何以为事？不过是采松花酿酒、取春水烹茶罢了。

Appreciation

The first half uses three parallel images of historical decay to express the dreamlike nature of rise and fall; the second half shifts to a peaceful rustic scene, ending with a self-contained question and answer that captures the essence of reclusive joy.

【白话串讲】 “兴亡千古繁华梦，诗眼倦天涯”——张可久看透了千古兴亡，隐居山中：松花酿酒，春水煎茶。元曲里的“躺平”，被他写成了神仙日子。【意象与手法】上片三句「孔林乔木，吴宫蔓草，楚庙寒鸦」为鼎足对，以列锦之法浓缩千年兴亡，不着议论而慨叹自见；下片由大入小、由古转今，以「数间茅舍，藏书万卷」写隐逸之实，「松花酿酒，春水煎茶」以白描写闲适之趣。全曲疏密有致，语言雅洁，融诗词之法入曲。【情感与主旨】张可久（约1270—1348后），字小山，元代散曲大家，一生沉抑下僚，幕游江浙。此〔黄钟·人月圆〕《山中书事》写于晚年隐居之时。曲中「孔林」「吴宫」「楚庙」皆其游历所经之历史遗迹，触景生慨，由览古之倦归于山林之适，是其「清丽派」散曲的典型之作。【名句点睛】默写易错：「诗眼倦天涯」之「倦」勿作「卷」；「吴宫蔓草」之「蔓」易误作「漫」；「楚庙寒鸦」之「鸦」勿作「鸭」。赏析要点：①鼎足对的列锦手法；②「倦」字的深意；③由怀古到归隐的结构。

Background

Zhang Kejiu (c.1270-post 1348), style name Xiaoshan, was a master of sanqu (dramatic verse) in the Yuan dynasty. He spent most of his life as a lowly official traveling in Jiangsu and Zhejiang. This piece, written in his later years in retirement, reflects his weariness with worldly affairs and his contentment with a hermit's life.

张可久（约1270—约1348），字小山，一作名久可，庆元（今浙江宁波）人，元代散曲大家，与乔吉并称「张乔」，是元代散曲「清丽派」的代表作家。他一生沉抑下僚，只做过路吏、典史等小官，幕游于江浙一带，晚年隐居山林。元代科举时断时续，汉族文人仕进之路狭窄，张可久一生辗转幕府，饱尝奔走之劳与世态炎凉，此〔黄钟·人月圆〕《山中书事》即写于其晚年归隐之时。曲中「孔林」「吴宫」「楚庙」皆为华夏历史上有名的古迹：孔林为孔子墓园，在山东曲阜；吴宫指吴王夫差的馆娃宫等春秋吴国宫苑，在苏州；楚庙指楚地宗庙，在荆楚。张可久或亲历其地、或神游其境，触景生慨，将千古兴亡浓缩于三组意象之中，复以「倦天涯」三字写尽半生游幕的疲惫，最终归于「松花酿酒，春水煎茶」的山居闲适。此曲是其晚年心境的自述，也是元代士人于仕隐之间徘徊、最终归隐山林的典型写照，体现了元代散曲「清丽雅正」一派的审美追求。

Art

The upper part features a 'tripod couplet' of three historical sites (Confucius' grove, Wu Palace, Chu Temple), using starkly desolate images to convey the transience of glory without direct commentary. The lower part contrasts by focusing on the poet's simple possessions, ending with a light, lyrical description of wine and tea brewing.

此曲艺术上以「鼎足对」与「列锦」见长，上片吊古、下片归隐，对比鲜明。上片「兴亡千古繁华梦，诗眼倦天涯」以议论起笔：千古兴亡不过是繁华一梦，「倦」字写尽阅尽兴亡后的精神疲惫与超脱。紧接着「孔林乔木，吴宫蔓草，楚庙寒鸦」三句为鼎足对，以列锦之法罗列三组历史遗迹：孔子墓园只剩乔木森森，吴国宫苑长满蔓草萋萋，楚地庙宇栖着寒鸦点点。三组意象不着一字议论，而繁华成空、兴亡无常的慨叹自见——乔木、蔓草、寒鸦，皆是荒凉衰飒之物，与当年的礼乐、繁华、祭祀形成强烈反差，历史的沧桑尽在其中。下片由大入小、由古转今：「数间茅舍，藏书万卷，投老村家」写归隐之实——茅舍虽小，藏书万卷，物质简朴而精神富足；「山中何事？松花酿酒，春水煎茶」以问答收束，以白描写闲适之趣。全曲疏密有致，语言雅洁，融诗词之法入曲，是张可久「清丽派」散曲的典范。而「诗眼」二字亦见其以诗为眼、以眼观史的独特视角。

Allusions

'Confucius' grove' refers to the cemetery of Confucius in Qufu, symbolizing ritual and culture. 'Wu Palace' alludes to the palaces of King Fuchai of Wu, symbolizing imperial luxury. 'Chu Temple' refers to the temples of the Chu state, associated with Qu Yuan's Nine Songs. These three span different eras, collectively representing the rise and fall of Chinese civilization. The final lines evoke the recluse tradition of Tao Yuanming and Lu Yu's Classic of Tea.

此曲用典皆取自历史名胜与隐逸传统。「孔林」指孔子墓园，在曲阜城北，古木参天，象征礼乐教化与儒学传统，然如今唯余乔木，暗寓礼崩乐坏、斯文之盛已成陈迹。「吴宫」用春秋吴王夫差筑馆娃宫、西施居之的故实，喻帝王奢华，今则蔓草丛生，象征繁华的覆灭。「楚庙」指楚地宗庙，屈原《九歌》所祭之神祠，如今唯见寒鸦栖集，象征故国的荒凉。三者跨越时空并列，孔林在鲁、吴宫在吴、楚庙在楚，由北至南，概括了整个华夏文明的兴亡。末句「松花酿酒，春水煎茶」化用隐逸传统：松花、春水皆山林自然之物，酿酒烹茶皆闲雅之事，承陶渊明「采菊东篱下」的隐逸精神与陆羽《茶经》的茶文化传统，以雅事写归田之乐，不着烟火气，正是张可久「清丽」风格的体现。又「藏书万卷」暗用杜甫《又示宗武》「觅句新知律，摊书解满床」及韩愈《进学解》「口不绝吟于六艺之文」的读书传统，以万卷书为隐者之宝，正见中国士人「耕读传家」的精神——物质之简（数间茅舍）与精神之富（藏书万卷）的对照，正是隐逸理想的物质与精神双重安顿。

Commentary

Ming critic Li Kaixian praised Zhang Kejiu as 'the master of the lyric world,' calling his verse 'elegant, moist, and refined.' Modern scholar Ren Zhongmin in An Outline of Sanqu noted that Zhang 'refines words and sentences, blending elegance with popular appeal,' and that this piece 'uses poetic techniques for dramatic verse, opening a school of pure lyric.'

此曲为张可久散曲中的名篇，历代评价颇高。明代李开先评张可久为「词林之宗匠」，谓其曲「清丽淹润，高出寻常」。近人任中敏《散曲概论》称小山「炼字炼句，雅俗兼融」，此曲「以诗词笔法为小令，开后世清曲一派」。从文学史角度看，此曲体现了元代散曲的独特成就：它将诗词的意境营造与曲的通俗灵动融为一体，「孔林乔木，吴宫蔓草，楚庙寒鸦」三句以鼎足对浓缩历史，精警凝练；「山中何事？松花酿酒，春水煎茶」以问答写闲适，亲切自然。全曲由「倦天涯」的疲惫到「山中何事」的自适，情感由苍凉转向恬淡，正是元代士人「以隐遁疗心」的典型心态。与张养浩《山坡羊·潼关怀古》「兴，百姓苦；亡，百姓苦」的沉痛相比，张可久此曲以「繁华梦」消解兴亡之叹，归于山林之适，可见元代怀古题材由激愤向超脱的演变，亦见小山散曲「清丽雅正」的独特风格。此曲与《红绣鞋·隐士》等作并观，可见小山散曲「清丽」之中实寓深沉的世味，愈品愈醇。

Prosody

Form Sanqu xiaoling (Yellow Bell mode: Man and Moon Reunited)散曲小令（黄钟·人月圆）

Rhyme ya (涯), ya (鸦), jia (家), cha (茶) – rhymes in the jia-ma rhyme group涯、鸦、家、茶（押家麻韵）

Tone pattern Symmetric structure between the two stanzas; first half on history, second half on the self句式整齐，前后片对称，上片写史下片写己，音节舒徐

Reading note The upper part mourns the past, the lower part enjoys the present, creating a sharp contrast typical of Zhang Kejiu's elegant style.此曲为〔黄钟·人月圆〕小令，属元代北曲黄钟宫，全曲十一句，押「涯」「鸦」「家」「茶」等家麻韵，一韵到底。家麻韵字音开阔明朗，与全曲由苍凉转闲适的情调相谐。句式上，「孔林乔木，吴宫蔓草，楚庙寒鸦」三句为鼎足对，四字句连排，音节齐整，气势浑成；「数间茅舍，藏书万卷，投老村家」亦为鼎足对，与之遥相呼应，上片三句写古迹，下片三句写己居，结构对称而意脉贯通。全曲上片吊古伤今、下片归隐闲适，对比鲜明而过渡自然，「山中何事」的问答更使曲情由沉重转向轻快。张可久以诗词笔法入曲，讲究对仗、炼字与意境经营，此曲正体现了元代散曲「清丽雅正」一派的审美追求，是其「清丽派」散曲的代表之作。

Line by line

兴亡千古繁华梦，诗眼倦天涯。

The rise and fall of ages is a dream of splendor; the poetic eye wearies of roaming the world. — Sets the tone of weariness and detachment.

千古兴亡不过繁华一梦，看遍天涯的诗人之眼早已倦怠。

Rise and fall through the ages, a dream of splendor; the poet's eye is weary of the world's ends.

「兴亡千古繁华梦，诗眼倦天涯」为全曲起笔，以议论定调。「兴亡千古」写历史之长、兴亡之频——千古以来，多少王朝兴亡更替；「繁华梦」以梦喻繁华，写尽繁华的虚幻——一切歌舞升平、金戈铁马，终究如一场大梦，梦醒即空。此句将千古兴亡一笔勾销，归于「梦」字，是看透历史后的彻悟。「诗眼」指诗人的眼光、才情，也指诗人观照世界的敏感之心；「倦天涯」写这双诗眼已看遍天涯海角的兴亡变迁，倦了——「倦」字是全曲的枢纽，既写行旅之累（张可久一生幕游天涯），更写精神之疲（阅尽兴亡后的厌世与超脱）。起笔两句，由历史之虚写到身心之倦，为全曲定下「由吊古到归隐」的基调。

The opening fixes the tone through argument: 'rise and fall through the ages, a dream of splendor' — history's length, its frequent dynastic changes; splendor a dream, writing its unreality — all song and dance, all spears and horses, at last a great dream, empty on waking. The line writes off a thousand autumns at a stroke, closing on the word 'dream,' the enlightenment of one who has seen through history. 'The poet's eye' is the poet's gaze, his gift, his sensitive heart watching the world; 'weary of the world's ends' — this eye has watched the rise and fall of every corner, and is tired. The word 'weary' is the song's hinge: the fatigue of lifelong wandering (Zhang Kejiu spent his years as a private secretary, roaming the world's ends), and the spiritual exhaustion of one who has seen through all rise and fall — disillusion and detachment. Two opening lines, from the void of history to the weariness of body and heart, fixing the song's tone of 'from mourning the past to retiring.'

孔林乔木，吴宫蔓草，楚庙寒鸦。

Tall trees in Confucius' Grove, rank weeds in Wu Palace, cold crows in Chu Temple. — Three desolate images paralleled to show the emptiness of glory.

孔子墓园的乔木、吴国宫阙的蔓草、楚地庙宇的寒鸦。

Tall trees in Confucius's grove; tangled grass in the Wu palace; dark crows at the Chu temple.

「孔林乔木，吴宫蔓草，楚庙寒鸦」为鼎足对，是全曲怀古的核心，以列锦之法浓缩千年兴亡。「孔林」是礼乐教化的象征，如今唯余乔木森森；「吴宫」是帝王繁华的象征，如今长满蔓草萋萋；「楚庙」是故国祭祀的象征，如今栖着寒鸦点点。三句不着一字议论，不着一个「衰」字、一个「亡」字，而兴亡之慨自见——乔木、蔓草、寒鸦，皆是荒凉衰飒之物，与当年的礼乐、繁华、神圣形成强烈反差。三组意象由北至南（鲁、吴、楚），跨越时空，概括了整个华夏文明的兴亡。鼎足对以三句并列，音节齐整而气势恢宏，是散曲中浓缩历史的绝妙手法，也是全曲「吊古」的视觉焦点。

A balanced triplet, the core of the song's meditation, condensing a thousand years of rise and fall through listed images. Confucius's grove, the symbol of ritual and teaching, now only tall trees; the Wu palace, the symbol of imperial splendor, now overgrown with grass; the Chu temple, the symbol of a kingdom's worship, now roosting dark crows. Three lines, not one word of argument, not one word 'decline' or 'fall,' yet the lament self-evident — tall trees, tangled grass, dark crows, all bleak things, set in sharp contrast with the ritual, splendor, and sanctity of old. Three image groups from north to south (Lu, Wu, Chu), across time and space, compressing the rise and fall of all Chinese civilization. The balanced triplet, three lines side by side, measured in cadence and grand in bearing, is the sanqu's brilliant way of condensing history — the visual focus of the song's mourning.

数间茅舍，藏书万卷，投老村家。

A few thatched huts, ten thousand volumes, ending one's days in the village. — Turns from history to the poet's own simple life.

如今我只有数间茅舍、万卷藏书，归老山村。

A few thatched cottages, ten thousand volumes of books — I end my years in the village.

「数间茅舍，藏书万卷，投老村家」为全曲由古转今的枢纽，写归隐之实。「数间茅舍」写居所之简陋——不求华屋广厦，数间茅屋足矣，见其淡泊；「藏书万卷」写藏书之富——物质虽简，精神却极富足，万卷书正是诗人的精神家园，见其高雅；「投老村家」写归宿——「投老」即到老、临老，写诗人在垂暮之年将身心投向山村，终老于此。三句一简一富一终，以茅舍之简衬托藏书之富，以藏书之富安顿投老之身，物质与精神、身与心在此达成平衡。此三句与上片「孔林吴宫楚庙」形成对照：古迹是历史的繁华，茅舍是自己的家园；看尽兴亡之后，唯有一屋一山堪以栖身。

This triplet is the song's hinge from ancient to present, writing the reality of retreat. 'A few thatched cottages' — the humble dwelling: no halls needed, a few huts enough, writing his plainness; 'ten thousand volumes of books' — the rich library: matter simple, spirit rich, the ten thousand volumes the poet's spiritual home, writing his refinement; 'I end my years in the village' — the resting place, 'end my years' the poet, in his twilight, committing body and heart to the mountain village, to end his days. Three lines, simple, rich, and final: the cottage's plainness setting off the library's riches, the library settling the aging body, matter and spirit, body and heart, balanced here. The triplet sets against the earlier 'Confucius's grove, the Wu palace, the Chu temple': the ancient sites are history's splendor, the cottage one's own home; after watching all rise and fall, only a hut and a hill suffice to shelter the body.

山中何事？松花酿酒，春水煎茶。

What to do in the mountains? Brew wine with pine flowers, make tea with spring water. — A rhetorical question answered with two elegant activities, expressing reclusive joy.

山中何以为事？不过是采松花酿酒、取春水烹茶罢了。

What is there to do in the hills? Brew wine from pine blossoms; boil tea in spring water.

「山中何事？松花酿酒，春水煎茶」为全曲结句，以问答收束，于平淡中见雅趣。「山中何事」设问——隐居山中，以何为业？「松花酿酒」写以松花酿酒——松花是山林之物，采松花酿酒，是山居的雅事；「春水煎茶」写以春水烹茶——春水是山泉之液，取春水烹茶，是山居的清趣。两句以白描写闲适，酒与茶皆淡而有味之物，松花与春水皆自然无染之材，正合隐者「清」与「淡」的精神。此问答之妙在于自问自答、不答而答：山中无事可做，亦无事须做，唯以松花酿酒、春水烹茶消磨岁月，这正是「无事」的最高境界——不为名利所驱，不为世务所累，唯有山中之乐。结句以雅事收束，表现厌弃功名、恬淡闲适的隐逸情怀，余味悠长。

The closing, a question and answer, finding elegant delight in the plain. 'What is there to do in the hills?' — retired in the hills, what is one's work? 'Brew wine from pine blossoms' — pine blossoms, a hill thing, brewing wine from them, an elegant occupation of mountain life; 'boil tea in spring water' — spring water, the mountain's liquid, boiling tea in it, a clear pleasure. Two lines in plain description write leisure: wine and tea, both mild and flavorful; pine blossoms and spring water, both natural and unstained, suiting the recluse's spirit of 'clear' and 'mild.' The question-and-answer's genius is self-answered, unanswered-yet-answered: nothing to do in the hills, nothing that needs doing, only brewing pine-blossom wine and boiling spring-water tea to while the years — the highest state of 'nothing,' driven by no fame, burdened by no world's affairs, only the joy of the hills. The close in elegant occupation, writing the rejection of rank, the quiet leisure of retreat, the aftertone long.

Study

Word focus

倦 weary – a key word expressing both physical fatigue and spiritual detachment after witnessing the futility of glory. 「诗眼倦天涯」之「倦」字，是全曲的诗眼，一字立骨。「倦」即疲倦、厌倦，此处写诗人之眼已看遍天涯，疲惫不堪。此字之妙有四层：其一，写行旅之累，张可久一生幕游江浙，天涯奔走，身已倦矣；其二，写观览之疲，诗眼观照千古兴亡、人间万象，看多了繁华与覆灭，眼已倦矣；其三，写精神之厌，阅尽兴亡之后，对功名、对世事生出深深的厌倦，心已倦矣；其四，写超脱之基，正因为「倦」，才决意归隐，才有下文的「茅舍藏书」「松花春水」，一个「倦」字是「由吊古到归隐」的桥梁。此字兼有身倦、眼倦、心倦三层意蕴，凝聚了张可久半生游幕的辛酸与晚年看透世事的彻悟，是全曲情感的支点，炼字精警传神。

蔓草 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「吴宫蔓草」之「蔓草」，是鼎足对中写历史荒凉的关键意象。「蔓草」即蔓延滋长的野草，此处写吴王宫苑如今长满蔓生的野草。此词之妙有三：其一，以物写兴亡，吴宫曾是馆娃歌舞、繁华似锦之地，如今唯余蔓草萋萋，「蔓草」与「吴宫」的并置，正是繁华与荒凉的对照，以草之生写宫之亡；其二，以景写情，蔓草蔓延，无人剪伐，正是宫苑荒废的明证，草越盛，宫越衰，历史的荒凉感扑面而来；其三，以声写韵，「蔓草」与「乔木」「寒鸦」同属荒凉意象群，蔓草之「蔓」与寒鸦之「寒」音韵相谐，共同营造出苍凉衰飒的氛围。一个「蔓草」，将吴国数百年的繁华浓缩为一片荒草，着墨无多而沧桑满纸，是散曲炼意的典范。

问（山中何事） rhetorical question – the self-inquiry leads to a serene answer, highlighting the poet's contentment with simple pleasures. 「山中何事」之「问」字，是全曲由怀古转入闲适的转折机关，设问而自答。「问」即发问，此处以「山中何事」设问，引出「松花酿酒，春水煎茶」的回答。此问之妙有三：其一，以问转接，上片写兴亡之慨、天涯之倦，情绪苍凉，此一问陡然将笔锋转入山中，由古转今、由外转内，章法灵动；其二，以问显闲，「山中何事」的问句本身即暗示山中无事——正因为无事可为、亦无事须为，才以酒茶消磨，问中已含闲适之意；其三，以问写趣，自问自答之间，隐者悠然自得的神情跃然纸上，仿佛诗人正含笑自答：山中何事？采松花酿酒、取春水烹茶罢了。一个「问」字，将怀古的沉重化为归隐的轻快，使全曲由苍凉转向恬淡，是曲中设问的妙用。