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唐 Tang · 诗 Poem

早春行

The, Walk, of, the, Early, Spring

王维

Wang Wei

春景spring 闺情Theme

紫梅发初遍，黄鸟歌犹涩。
谁家折杨女，弄春如不及。
爱水看妆坐，羞人映花立。
香畏风吹散，衣愁露沾湿。
玉闺青门里，日落香车入。
游衍益相思，含啼向彩帷。
忆君长入梦，归晚更生疑。
不及红檐燕，双栖绿草时。

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Meaning

A poem of the spring and the longing, written by Wang Wei. The purple plums blooming first all over, the yellow birds singing still not yet smooth — the spring of the opening. Whose daughter of the breaking the willows, playing with the spring as if not enough — the girl of the middle. The fragrance fearing the wind blowing it away, the dress worrying the dew wetting it through — the tenderness of the middle. And the close's not as good as the swallows of the red eaves, the time of the paired dwelling on the green grass — the close's envy. The poem is the spring and the longing: the girl, the dreams, and the close's envy.

紫梅发初遍，黄鸟歌犹涩。谁家折杨女，弄春如不及。爱水看妆坐，羞人映花立。香畏风吹散，衣愁露沾湿。玉闺青门里，日落香车入。游衍益相思，含啼向彩帷。忆君长入梦，归晚更生疑。不及红檐燕，双栖绿草时。

Appreciation

[Plain Paraphrase] The, purple, plums, blooming, first, all, over, the, yellow, birds, singing, still, not, yet, smooth. Whose, daughter, of, the, breaking, the, willows, playing, with, the, spring, as, if, not, enough. Loving, the, water, looking, at, the, dress, sitting, ashamed, of, the, people, hiding, among, the, flowers, standing. The, fragrance, fearing, the, wind, blowing, it, away, the, dress, worrying, the, dew, wetting, it, through. The, jade, chamber, within, the, Green, Gate, the, sun, setting, the, fragrant, carriage, entering. Playing, and, wandering, the, more, the, longing, holding, the, tears, toward, the, colored, curtains. Remembering, the, lord, always, entering, the, dreams, the, returning, late, the, more, giving, birth, to, the, doubt. Not, as, good, as, the, swallows, of, the, red, eaves, the, time, of, the, paired, dwelling, on, the, green, grass. [Structure and Thought] The poem moves from the spring of the purple plums with the girl, through the longing of the dreams with the doubt, to the close's the envy of the paired swallows. [Key Technique] The poem's art is the close of the envy: not as good as the swallows of the red eaves, and the close's the time of the paired dwelling on the green grass — the spring gathered in the longing and the close's envy. [Emotional Tone] Fine, tender, and longing: the poem is the girl, the dreams and the close's envy.

【白话串讲】王维写《早春行》：“紫梅发初遍，黄鸟歌犹涩”——“谁家折杨女，弄春如不及”——“爱水看妆坐，羞人映花立”——“游衍益相思，含啼向彩帷”——“忆君长入梦，归晚更生疑”——他写早春与相思。【意象与手法】此诗写早春闺怨，以弄春写相思，是王维的名篇。前八句写弄春：「紫梅发初遍，黄鸟歌犹涩」写紫梅发初遍、黄鸟歌犹涩——写尽早春的初醒；「谁家折杨女，弄春如不及」写谁家折杨女、弄春如不及——写尽弄春的急切；「爱水看妆坐，羞人映花立」写爱水看妆坐、羞人映花立——写尽弄春的娇态；「香畏风吹散，衣愁露沾湿」写香畏风吹散、衣愁露沾湿——写尽弄春的情致；后八句写相思：「玉闺青门里，日落香车入」写玉闺青门里、日落香车入——写尽游春的归家；「游衍益相思，含啼向彩帷」写游衍益相思、含啼向彩帷——写尽游后的相思；「忆君长入梦，归晚更生疑」写忆君长入梦、归晚更生疑——写尽入梦的相思；「不及红檐燕，双栖绿草时」写不及红檐燕、双栖绿草时——写尽羡慕双栖的感慨。全诗以弄春写相思，写尽早春闺怨，是王维的代表作。【情感与主旨】此诗写早春闺怨，以弄春写相思，是王维的名篇。此诗写一位少妇在早春游春，由弄春之乐转生相思之愁。此诗写弄春：紫梅发初遍，黄鸟歌犹涩——写紫梅初发、黄鸟歌声犹涩，写尽早春的初醒；谁家折杨女，弄春如不及——写谁家折杨女、弄春如不及，写尽弄春的急切；爱水看妆坐，羞人映花立——写爱水看妆坐、羞人映花立，写尽弄春的娇态；香畏风吹散，衣愁露沾湿——写香畏风吹散、衣愁露沾湿，写尽弄春的情致；玉闺青门里，日落香车入——写玉闺青门里、日落香车入，写尽游春的归家；游衍益相思，含啼向彩帷——写游衍益相思、含啼向彩帷，写尽游后的相思；忆君长入梦，归晚更生疑——写忆君长入梦、归晚更生疑，写尽入梦的相思；不及红檐燕，双栖绿草时——写不及红檐燕、双栖绿草时，写尽羡慕双栖的感慨。全诗以弄春写相思——那「游衍益相思」写尽游春转相思，「不及红檐燕」写尽羡慕双栖的感慨，写尽早春闺怨，是理解王维闺怨诗的重要篇章。【名句点睛】常考「紫梅发初遍，黄鸟歌犹涩」写早春的初醒；「爱水看妆坐，羞人映花立」写弄春的娇态；「忆君长入梦，归晚更生疑」写入梦的相思；「不及红檐燕，双栖绿草时」写羡慕双栖的感慨；以及全诗以弄春写相思、以乐景写哀情的手法。

Background

Wang Wei (701-761), the great poet of the Tang, wrote this 'The, Walk, of, the, Early, Spring' of the spring and the longing — the longing of the girl in the early spring. The spring of the purple plums with the girl, the longing of the dreams, and the close's the envy of the paired swallows — the poem gathers the tenderness of the poet, the longing of the girl. The poem is one of the famous works of the poet's poems of the spring.

此诗写早春闺怨，以弄春写相思，是王维的名篇。王维（701—761），字摩诘，河东蒲州（今山西永济）人，唐代伟大的山水田园诗人，人称「诗佛」。此诗写一位少妇在早春游春，由弄春之乐转生相思之愁。王维早年居于长安，于青门（长安城东南门）一带多见贵家少妇游春，此诗或即有感而作。全诗十六句，前八句以工笔写弄春之乐，后八句转写游春归来后的相思之愁：那「游衍益相思」一笔转关，由乐而愁，正是此诗的枢纽；那「不及红檐燕，双栖绿草时」更以双栖之燕反衬独守之人，写尽闺中少妇的羡慕与幽怨。此诗以乐景写哀情，写尽早春闺怨，是理解王维闺怨诗的重要篇章，也是王维少有的以闺情为主的长篇五古。此诗的写法尤有深意：前八句写弄春之乐，笔调明快，仿佛春光无限；后八句写相思之愁，笔调低回，愈转愈深。这一「由乐转愁」的结构，正是「以乐景写哀」的典型——早春越是明媚，少妇独守的孤寂便越是难堪；而那「游衍益相思」一笔，更点明弄春之乐非但不能遣愁，反因见人成双而益增相思，可见王维体察女性心理之细、布局谋篇之巧。

Art

The poem's art is the art of the envy. The spring opens: the, purple, plums, blooming, first, all, over — the purple plums of the blooming; the, yellow, birds, singing, still, not, yet, smooth — the yellow birds of the singing; whose, daughter, of, the, breaking, the, willows — the daughter of the breaking the willows; playing, with, the, spring, as, if, not, enough — the playing of the spring; loving, the, water, looking, at, the, dress, sitting — the looking at the dress of the sitting; ashamed, of, the, people, hiding, among, the, flowers, standing — the hiding of the standing; the, fragrance, fearing, the, wind, blowing, it, away — the fragrance of the fearing the wind; the, dress, worrying, the, dew, wetting, it, through — the dress of the worrying the dew. The longing follows: the, jade, chamber, within, the, Green, Gate — the jade chamber of the Green Gate; the, sun, setting, the, fragrant, carriage, entering — the fragrant carriage of the entering; playing, and, wandering, the, more, the, longing — the longing of the playing; holding, the, tears, toward, the, colored, curtains — the tears of the colored curtains; remembering, the, lord, always, entering, the, dreams — the lord of the entering the dreams; the, returning, late, the, more, giving, birth, to, the, doubt — the doubt of the returning late. And the close gathers the envy: not, as, good, as, the, swallows, of, the, red, eaves — the swallows of the red eaves; the, time, of, the, paired, dwelling, on, the, green, grass — the paired dwelling of the green grass — the spring, the longing and the close's envy, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以工笔写早春。「紫梅发初遍，黄鸟歌犹涩」以工笔写早春——那「发初遍」写尽紫梅初开、「歌犹涩」写尽黄鸟歌声犹涩，以工笔写尽早春的初醒。其二，以细节写娇态。「爱水看妆坐，羞人映花立」以细节写娇态——那「爱水看妆坐」写尽临水照妆的娇态、「羞人映花立」写尽映花而立怕人瞧见的羞态，以细节写尽弄春的娇态。其三，以转关写相思。「游衍益相思」以转关写相思——那「游衍」写尽游春之乐、「益相思」写尽游后相思愈深，以转关写尽由乐而愁的转折。其四，以反衬写孤寂。「不及红檐燕，双栖绿草时」以反衬写孤寂——那「双栖绿草时」写尽燕子双栖的恩爱，以反衬写尽闺中少妇独守的孤寂。此外，此诗还善用「弄春如不及」的心理、「香畏风吹散，衣愁露沾湿」的细腻，写尽少妇弄春时既爱惜春光又怕风吹露湿的微妙情致；而「含啼向彩帷」的「含啼」二字，更写尽游春归来强忍泪水的委屈。四重手法加这些细笔，使此诗以弄春写相思，写尽早春闺怨，是王维的代表作。

Allusions

'The Green Gate' (qing men) is the Green Gate — the gate of the green, the jade chamber of the middle; 'the colored curtains' (cai wei) are the colored curtains — the curtains of the colored, the tears of the middle; 'the red eaves' (hong yan) are the red eaves — the eaves of the red, the swallows of the close.

此诗的用语深植于闺怨与早春的传统。「紫梅发初遍」令人想到「紫梅」写早春梅花的意象——「紫梅发初遍」正是王维的名句，也令人想到「黄鸟歌犹涩」写黄鸟初啼的意象——「歌犹涩」写歌声犹涩，写尽早春初醒；「谁家折杨女」令人想到「折杨」写折杨柳的意象——古人有折柳赠别、寄情之俗，也令人想到「折杨女」写折杨少女的意象——「谁家折杨女」正是王维的名句；「弄春如不及」令人想到「弄春」写赏春的意象——「弄春如不及」写弄春如恐不及，也令人想到「如不及」写如恐不及的意象；「爱水看妆坐」令人想到「看妆」写临水照妆的意象——「爱水看妆坐」正是王维的名句，也令人想到「羞人映花立」写映花而立的意象；「玉闺青门里」令人想到「青门」写长安青门的典故——青门为长安城东南门，也令人想到「玉闺」写华丽闺房的意象；「忆君长入梦」令人想到「忆君」写忆君的意象——「忆君长入梦」正是王维的名句，也令人想到「归晚更生疑」写归晚生疑的意象；「不及红檐燕」令人想到「双栖」写双宿双飞的意象——「双栖绿草时」写燕子双栖，也令人想到以燕双栖反衬人独守的意象——「思妇楼头月」的闺怨传统。全诗化用青门、折杨、双栖燕的意象，以弄春写相思，正是王维「诗中有画」而兼善细腻、承闺怨传统写早春的本领。

Commentary

This poem is one of the famous works of Wang Wei's poems of the spring, quoted for the freshness of its opening and the tenderness of its close. The purple plums of the blooming, and the paired dwelling of the green grass, are among the admired passages of the poet's poems. Critics praise the poem's tenderness: the spring gathered in the girl, to the close's envy.

此诗历来被推为王维闺怨诗的名篇，也是唐人写早春闺怨的代表。历代论者对此诗评价极高：清人评此诗「以弄春写相思，工丽婉转」；近人更指出「忆君长入梦，归晚更生疑」写思夫入梦，「不及红檐燕，双栖绿草时」写羡慕双栖，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以十六句的长篇写尽早春闺怨——那初发的紫梅，那犹涩的黄鸟，那弄春如不及的折杨女，那爱水看妆坐的娇态，那羞人映花立的羞态，那玉闺青门里的深闺，那游衍益相思的转关，那含啼向彩帷的幽怨，那忆君长入梦的痴情，那归晚更生疑的疑虑，那不及红檐燕的感慨，都写尽了王维笔下的早春闺怨；那「不及红檐燕，双栖绿草时」更以双栖之燕写尽独守之愁。此诗与王维《相思》（「红豆生南国」）同为写情名篇，一写「愿君多采撷」的相思（相思），一写「忆君长入梦」的闺怨（早春行）；又与沈佺期《独不见》的闺怨传统一脉相承，可见唐人写少妇闺怨的深情。对于今日读者，此诗是理解王维闺怨诗的窗口，也是中国诗写早春闺怨的经典——那双栖的红檐燕，穿越千年，仍在诉说着独守的相思。

Prosody

Form An old poem of the spring (wu yan gu shi)诗·五言古诗（十六句）

Rhyme The poem rhymes on the level of the group — the cadence of the old poem that carries the tender longing.五古，押「涩」「及」「立」「湿」「入」「帷」「疑」「时」韵（入声及上平微等），转韵自由，音节流转

Tone pattern The cadence is that of the envy: the level opening with the spring, the turning with the longing, and the close's fall with the grass.此诗为五言古诗，十六句，押韵转韵自由，音节流转，正合弄春的流转。

Reading note The poem's sound matches its tenderness: the cadences of the old poem, and the close — 'shuang qi lü cao shi' — falls with the grass, the sound of the longing of the spring girl.此诗为五言古诗，十六句——「紫梅发初遍，黄鸟歌犹涩。谁家折杨女，弄春如不及。爱水看妆坐，羞人映花立。香畏风吹散，衣愁露沾湿。玉闺青门里，日落香车入。游衍益相思，含啼向彩帷。忆君长入梦，归晚更生疑。不及红檐燕，双栖绿草时」，押韵转韵自由，音节流转。全诗以弄春写相思：前八句写弄春之乐（紫梅发初遍……衣愁露沾湿），后八句写相思之愁（玉闺青门里……双栖绿草时）。十六句长篇，前写弄春，后写相思，以「游衍益相思」一笔转关，正见王维五古「流转自如」的本色。诵读此诗，宜以明快的语调读「紫梅发初遍」的弄春，以低回的语调读「游衍益相思」的转关，结句「双栖绿草时」要读得怅惘而有余韵，方能传达出王维的婉转细腻。王维古诗以「诗中有画」著称，此诗正是其闺怨五古的典范。

Line by line

忆君长入梦，归晚更生疑

Thinking of you, I dream of you often; when you return late, I start to doubt.

忆君常在梦中相见，归来晚了更生疑虑。

Thinking of you, I enter your dream night after night; when your coming home is late, doubt grows afresh.

此二句是全诗写相思的核心，以长入梦写思夫之深，以更生疑写盼归之切，写尽闺中少妇的相思，是千古名句。「忆君长入梦」写忆君常在梦中相见——那「忆君」写忆君，「长入梦」写常在梦中相见，写尽思夫之深；「归晚更生疑」写归来晚了更生疑虑——那「归晚」写归来晚了，「更生疑」写更生疑虑，写尽盼归之切。这句的深意在于：它以「忆君长入梦」的入梦与「归晚更生疑」的生疑，写尽闺中少妇的相思——忆君常在梦中相见，那「忆君长入梦」写尽思夫之深——白日游春虽乐，而心中所念唯有远人，夜夜入梦，那「长入梦」写尽相思的深长；归来晚了更生疑虑，那「归晚更生疑」写尽盼归之切——少妇游春归晚，竟怕错过夫君归来之时而心怀疑虑，那「更生疑」写尽盼归的急切；那「忆君长入梦」写尽思夫之深，那「归晚更生疑」写尽盼归之切，一写入梦，一写生疑，写尽闺中少妇的相思——由梦而疑，正是相思入骨的写照，那「长入梦」与「更生疑」，一虚一实，写尽少妇日思夜梦、患得患失的深情；此二句以入梦、生疑写尽闺中少妇的相思，也让此二句成为全诗写相思的核心与千古名句。若换作直说「她很想念丈夫」，则失其含蓄；唯以「忆君长入梦」写思夫、「归晚更生疑」写盼归，写尽闺中少妇的相思，也让此二句成为全诗写相思的核心。

These two lines are the core of the poem's longing - a famous line. 'Thinking of you, I dream of you often' the depth of the husband-miss; 'when you return late, I start to doubt' the eagerness of the homeward hope. Day's spring outing bright, yet the heart holds only the far man, night after night in dreams; the wife returning late from the outing, fearful of missing her husband's homecoming, doubt rising. From dream to doubt, longing to the bone.

不及红檐燕，双栖绿草时

Not so much as the swallows beneath the red eaves, paired on the green grass.

还不如那红檐下的燕子，双栖于绿草之时。

I am not even as happy as the swallows under the red eaves, pairing on the green grass.

此二句是全诗的收束，以红檐燕写燕子，以双栖写恩爱，写尽羡慕双栖的感慨，是千古名句。「不及红檐燕」写还不如那红檐下的燕子——那「不及」写比不上，「红檐燕」写红檐下的燕子，写尽对燕子的羡慕；「双栖绿草时」写双栖于绿草之时——那「双栖」写双宿双栖，「绿草时」写绿草之时，写尽燕子双栖的恩爱。这句的深意在于：它以「不及红檐燕」的羡慕与「双栖绿草时」的双栖，写尽羡慕双栖的感慨——还不如那红檐下的燕子，那「不及红檐燕」写尽对燕子的羡慕——红檐之燕，尚且双栖，而自己独守空闺，那「不及」写尽自愧不如的感慨；双栖于绿草之时，那「双栖绿草时」写尽燕子双栖的恩爱——燕子双栖于绿草之间，正是双宿双飞的恩爱，那「双栖」写尽燕侣的亲密；那「不及红檐燕」写尽对燕子的羡慕，那「双栖绿草时」写尽燕子双栖的恩爱，一写羡慕，一写双栖，写尽羡慕双栖的感慨——燕犹双栖，而人不相见，正是少妇独守的幽怨；而「绿草时」写春草萋萋，正是双栖的好时光，与少妇独守的孤寂形成鲜明对照；此二句以双栖燕写尽羡慕双栖的感慨，也让此二句成为全诗收束的千古名句。若换作直说「我比不上恩爱的燕子」，则失其含蓄；唯以「不及红檐燕」写羡慕、「双栖绿草时」写双栖，写尽羡慕双栖的感慨，也让此二句成为全诗的收束。

These two lines close the poem - a famous line. 'Not so much as the swallows beneath the red eaves' the envy of the birds; 'paired on the green grass' their wedded love. The eaves' swallows still pair, while she keeps the empty chamber; the spring grass lush, the mating season fair, set against her solitary keeping - the young wife's unspoken grief.

Study

Word focus

弄春 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「弄春如不及」之「弄春」是写游春的关键词，一个「弄春」写尽游春的意趣。弄春者，赏玩春光也。王维以「弄春如不及」写游春，这个「弄春」至少有双重意味：其一，写游春之乐——那「谁家折杨女，弄春如不及」写谁家折杨女弄春如恐不及，那「弄春」写尽游春的意趣——折杨弄春，正是早春游赏之乐，那「弄春」写尽游春的快乐；其二，写时光之惜——那「弄春」更是写惜春——弄春如不及，正见少妇惜春、恐春色易逝的心理，那「弄春」写尽惜春的情致。以「弄春」写游春，正是王维写早春的枢纽——若换作「赏春」「游春」等词，则或失其写弄春的灵动，或失其与「折杨女」的配合；唯「弄春」二字，以折杨弄春写尽游春的意趣与惜春的情致，与「游衍益相思」的益相思相对照，写尽早春闺怨，也让「弄春如不及」成为全诗写早春的名句。

双栖 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「不及红檐燕，双栖绿草时」之「双栖」是写羡慕的关键词，一个「双栖」写尽羡慕双栖的感慨。双栖者，双宿双飞也。王维以「双栖绿草时」写燕子，这个「双栖」至少有双重意味：其一，写燕之双栖——那「不及红檐燕，双栖绿草时」写不及红檐燕双栖于绿草之时，那「双栖」写尽燕子双宿双飞的恩爱——燕子双栖，正写尽燕侣的亲密，那「双栖」写尽燕子的恩爱；其二，写人之独守——那「双栖」更是写人——不及双栖之燕，正见少妇独守之孤，那「双栖」写尽羡慕双栖的感慨。以「双栖」写燕子，正是王维写孤寂的枢纽——若换作「双飞」「共宿」等词，则或失其与「绿草时」的配合，或失其写双宿双栖的意味；唯「双栖」二字，以燕子双栖写尽双宿双飞的恩爱与少妇独守的孤寂，与「忆君长入梦」的长入梦相对照，写尽早春闺怨，也让「双栖绿草时」成为全诗写羡慕的名句。

早春行