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宋 Song · 诗 Poem

登拟岘台

Climbing the Nixian Terrace

陆游

Lu You

登临Ascent 春景Spring scenery

层台缥缈压城闉，倚杖来观浩荡春。
放尽樽前千里目，洗空衣上十年尘。
萦回水抱中和气，平远山如酝藉人。
更喜机心无复在，沙边鸥鹭亦相亲。

Tier on tier the lofty terrace looms, pressing down on the city wall;
Leaning on my staff I come to view the vast unfolding spring.
I drain my thousand-mile gaze before the cup;
And wash away ten years of dust upon my robe.
Winding waters embrace a balanced, harmonious breath;
Level distant hills are like a man of restrained grace.
More joyful still: the scheming mind is gone for good,
And by the sands the gulls and egrets draw near in friendship.

Listen

Meaning

Climbing the Nixian Terrace above Fuzhou, Lu You gazes out over the vast spring, lets his thousand-mile vision range, and feels ten years of official dust washed clean. The winding water and level hills embody composure, and with his scheming heart gone, even the gulls and egrets draw near — a poem of release and transcendence.

层台缥缈压城闉，倚杖来观浩荡春。放尽樽前千里目，洗空衣上十年尘。萦回水抱中和气，平远山如酝藉人。更喜机心无复在，沙边鸥鹭亦相亲。

Appreciation

[Plain Paraphrase] The high terrace looms over the city wall; leaning on his staff the poet views the vast spring. He drains his far gaze before the cup and washes ten years of dust from his robe. Winding water holds a balanced spirit; distant hills are like a gracious man. Best of all, the scheming mind is gone, and gulls and egrets come near. [Structure] The first four lines climb and release; the last four read the hills and water as character and end in the joy of forgetful ease. [Imagery] 'Pressing down' shows the terrace's height; 'vast spring' its breadth. 'Wash away ten years of dust' turns official weariness into cleansing. The gulls and egrets are the classical sign of a mind without guile. The poem moves from height to heart, ending in tranquil friendship with nature.

【白话串讲】陆游写《登拟岘台》：“层台缥缈压城闉，倚杖来观浩荡春”——“放尽樽前千里目，洗空衣上十年尘”——“萦回水抱中和气，平远山如酝藉人”——“更喜机心无复在，沙边鸥鹭亦相亲”——他登拟岘台——放尽樽前千里目。【意象与手法】此诗写登临，以登台写超脱，是陆游的名篇。前四句写登台：「层台缥缈压城闉，倚杖来观浩荡春」写层台缥缈压城闉、倚杖来观浩荡春——写尽登台的春色；「放尽樽前千里目，洗空衣上十年尘」写放尽樽前千里目、洗空衣上十年尘——写尽观景的畅怀；后四句写山水：「萦回水抱中和气，平远山如酝藉人」写萦回水抱中和气、平远山如酝藉人——写尽山水的性情；「更喜机心无复在，沙边鸥鹭亦相亲」写更喜机心无复在、沙边鸥鹭亦相亲——写尽忘机的喜悦。全诗以登台写超脱，写尽登临的畅怀与忘机的喜悦，是陆游的代表作。【情感与主旨】此诗写登临，以登台写超脱，是陆游的名篇。拟岘台在抚州（今江西抚州）城东，为临水高台，陆游乾道年间任隆兴府通判时或曾登临。此诗写登台：层台缥缈压城闉，倚杖来观浩荡春——写层台缥缈压城闉、倚杖来观浩荡春，写尽登台的春色；放尽樽前千里目，洗空衣上十年尘——写放尽樽前千里目、洗空衣上十年尘，写尽观景的畅怀；萦回水抱中和气，平远山如酝藉人——写萦回水抱中和气、平远山如酝藉人，写尽山水的性情；更喜机心无复在，沙边鸥鹭亦相亲——写更喜机心无复在、沙边鸥鹭亦相亲，写尽忘机的喜悦。全诗以登台写超脱——那「洗空衣上十年尘」写尽观景的畅怀，「沙边鸥鹭亦相亲」写尽忘机的喜悦，写尽登临的畅怀与忘机的喜悦，是理解陆游山水诗的重要篇章。【名句点睛】常考「层台缥缈压城闉，倚杖来观浩荡春」写登台的春色；「放尽樽前千里目，洗空衣上十年尘」写观景的畅怀；「萦回水抱中和气，平远山如酝藉人」写山水的性情；以及全诗以登台写超脱、以鸥鹭写忘机的手法。

Background

Lu You (1125–1210), style name Wuguan, pen name Fangweng, was a great Southern Song patriot poet of Shaoxing. The Nixian Terrace stood east of Fuzhou (modern Jiangxi) on the water, named after Xiangyang's Xian Mountain; many literati climbed and versified it. Lu You, serving as vice-prefect of Longxing around the Qiandao era, perhaps climbed it there. The poem's first couplet sets the high terrace over the city wall and the vast spring; the second the far gaze and the washing of ten years' dust; the third reads the water's harmony and the hills' grace; the last rejoices that the scheming mind is gone and gulls draw near — a poem of release atop the terrace, a key to his landscape verse.

此诗写登临，以登台写超脱，是陆游的名篇。陆游（1125—1210），字务观，号放翁，越州山阴（今浙江绍兴）人，南宋伟大的爱国诗人。拟岘台在抚州（今江西抚州）城东，为临水高台，以襄阳岘山得名，南宋时屡有文人登临赋咏。陆游乾道年间任隆兴府通判、后入蜀，此诗或作于抚州一带。此诗写登台：「层台缥缈压城闉，倚杖来观浩荡春」写层台缥缈压城闉、倚杖来观浩荡春——写尽登台的春色（层台缥缈高压城垣，倚杖来观浩荡春色）；「放尽樽前千里目，洗空衣上十年尘」写放尽樽前千里目、洗空衣上十年尘——写尽观景的畅怀（樽前放尽千里之目，洗空衣上十年风尘）；「萦回水抱中和气，平远山如酝藉人」写萦回水抱中和气、平远山如酝藉人——写尽山水的性情（萦回之水抱中和之气，平远之山如含蓄之人）；「更喜机心无复在，沙边鸥鹭亦相亲」写更喜机心无复在、沙边鸥鹭亦相亲——写尽忘机的喜悦（更喜机心已无复在，沙边鸥鹭亦来相亲）。全诗以登台写超脱，写尽登临的畅怀与忘机的喜悦，是理解陆游山水诗的重要篇章。

Art

The art works on four fronts. First, scene for spring: 'the lofty terrace looms… the vast spring' sets height and breadth. Second, hyperbole for release: 'I drain my thousand-mile gaze' stretches the vision to its limit. Third, personification for hills: 'level distant hills are like a man of restrained grace' gives the hills character. Fourth, allusion for ease: 'gulls and egrets draw near' cites the gull-bird forgetful-mind tale. The first four lines climb and release; the last four read water and hills as temperament and end in joy — the 'write the heart through the scene' manner. Note the echo of 'presses down' with 'vast': one high, one wide, showing the terrace's grand view; 'leaning on my staff' marks the poet's age against the vast spring, and prepares the later washing of dust and the lost scheming mind.

此诗的艺术特色可从四个方面解析。其一，以写景写春色。「层台缥缈压城闉，倚杖来观浩荡春」以写景写春色——那「缥缈」「浩荡春」写尽高台与春色，以写景写尽登台的春色。其二，以夸张写畅怀。「放尽樽前千里目」以夸张写畅怀——那「千里目」写尽极目之远，以夸张写尽观景的畅怀。其三，以拟人写山水。「平远山如酝藉人」以拟人写山水——那「如酝藉人」写尽山的含蓄，以拟人写尽山水的性情。其四，以典故写忘机。「沙边鸥鹭亦相亲」以典故写忘机——那「鸥鹭相亲」写尽鸥鹭忘机的典故，以典故写尽忘机的喜悦。此外，此诗前四句写登台的畅怀，后四句写山水的性情与忘机的喜悦，由景入趣，正是登临诗「即景写心」的写法。四重手法，使此诗以登台写超脱，写尽登临的畅怀与忘机的喜悦，是陆游的代表作。此诗尤可注意首联「压」字与「浩荡」的呼应：层台「压」城闉，写台之高峻凌逼；「浩荡春」写春色之开阔无边，一高一阔，正见登台视野之宏远。而「倚杖」二字写诗人老迈之态，与「浩荡春」的壮阔形成对照——身虽老而眼界愈开，正是陆游晚年心境旷达的写照，也为后文「洗空十年尘」「机心无复在」的豁达张本。

Allusions

The language is rooted in the ascent and forgetful-mind tradition. 'Nixian' echoes Xiangyang's Xian Mountain and Yang Hu's tear-stele of remembrance; 'lofty terrace' recalls immortal towers; 'thousand-mile gaze' echoes Wang Zhihuan's 'ascend one more story to see a thousand miles'; 'ten years' dust' the official weariness; 'gulls and egrets' cite the Liezi tale of the man of the sea who befriended gulls until a scheming heart estranged them — the very emblem of forgetful ease. The poem weaves terrace, far gaze, gulls, and forgetful mind into an ascent of release, showing Lu You's fresh, allusive mastery of the climbing tradition.

此诗的用语深植于登临与忘机的传统。「拟岘台」令人想到「拟岘」写仿岘山的典故——襄阳岘山有羊祜堕泪碑，拟岘台以此得名，也令人想到「岘山」写怀古的意象；「缥缈」令人想到「缥缈」写高远的意象——「层台缥缈压城闉」正是陆游的名句，也令人想到「仙山楼阁」的缥缈意象；「千里目」令人想到「千里目」写极目的意象——「欲穷千里目，更上一层楼」（王之涣）的千里目，也令人想到「放尽樽前千里目」正是陆游的名句；「十年尘」令人想到「十年尘」写十年风尘的意象——「洗空衣上十年尘」正是陆游的名句，也令人想到「宦海风尘」的意象；「鸥鹭相亲」令人想到「鸥鹭忘机」的典故——《列子·黄帝》载海上之人与鸥鸟相亲，无机心则鸥鸟不避，也令人想到「忘机」写超脱的意象——「沙边鸥鹭亦相亲」正是陆游的名句。全诗化用拟岘、千里目、鸥鹭忘机的典故，以登台写超脱，正是陆游「清新俊逸」而善用典、承登临传统写忘机的本领。

Commentary

The poem is praised as a fine landscape piece by Lu You and a representative Song ascent poem. Later readers admire its 'fresh and graceful' tone; the line 'winding water embraces a balanced breath; level hills are like a man of restrained grace' is often cited as its best. Its worth lies in compressing the climbing release and the gulls' friendship into eight lines: the lofty terrace, the wall, the vast spring, the far gaze, the ten years' dust, the winding water, the level hills, the gulls — all Lu You's Nixian Terrace. Read beside his 'Tour of the Village of Shanxi' ('another village beyond the willows'), one the village, one the terrace; together they show his landscape's many faces. For modern readers it is a window onto his landscape verse and a classic of Chinese ascent poetry.

此诗历来被推为陆游山水诗的名篇，也是宋代登临诗的代表。历代论者对此诗评价极高：清人评此诗「以登台写超脱，清新俊逸」；近人更指出「萦回水抱中和气，平远山如酝藉人」写山水的性情，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以八句的七律写尽登临的畅怀与忘机的喜悦——那缥缈的层台，那城闉，那浩荡春，那千里目，那十年尘，那萦回的水，那平远的山，那鸥鹭，都写尽了陆游笔下的拟岘台；那「沙边鸥鹭亦相亲」更以鸥鹭忘机写尽超脱的喜悦。此诗与陆游《游山西村》（「山重水复疑无路」）同为山水名篇，一写「柳暗花明又一村」的山村（游山西村），一写「平远山如酝藉人」的山水（登拟岘台）；又与《列子》「鸥鹭忘机」的典故一脉相承，可见中国诗以鸥鹭写忘机的传统。对于今日读者，此诗是理解陆游山水诗的窗口，也是中国诗写登临的经典——那相亲的鸥鹭，穿越千年，仍在诉说着忘机的喜悦。

Prosody

Form Seven-character regulated verse (qilü)诗·七言律诗

Rhyme Rhymes on 'wall' (yin), 'spring' (chun), 'dust' (chen), 'man' (ren), 'near' (qin), all in the Zhen rhyme group; one rhyme throughout, with a fresh music.七律，押「闉」「春」「尘」「人」「亲」韵（上平十一真），一韵到底，音节清新

Tone pattern A seven-character regulated verse in level-tone rhyme, one rhyme throughout; its fresh, even syllables suit the ascent's clarity.此诗为七言律诗，押平声韵，一韵到底，音节清新，正合登临的清新。

Reading note This is a seven-character regulated verse of eight lines rhyming on the Zhen group (yin, chun, chen, ren, qin), one rhyme throughout, fresh in music. The first couplet climbs to the spring, the second releases the gaze and dust, the third reads water and hills as temper, the last rejoices in the gulls — a layered climb from scene to heart, typical of ascent verse. Read it fresh on the terrace, open on the gulls.此诗为七言律诗，八句——「层台缥缈压城闉，倚杖来观浩荡春。放尽樽前千里目，洗空衣上十年尘。萦回水抱中和气，平远山如酝藉人。更喜机心无复在，沙边鸥鹭亦相亲」，押「真」韵（闉、春、尘、人、亲），一韵到底，音节清新。全诗以登台写超脱：首联写登台的春色（层台缥缈压城闉，倚杖来观浩荡春），颔联写观景的畅怀（放尽樽前千里目，洗空衣上十年尘），颈联写山水的性情（萦回水抱中和气，平远山如酝藉人），尾联写忘机的喜悦（更喜机心无复在，沙边鸥鹭亦相亲）。四联由登台写到畅怀，再到山水，最后落到忘机，层层递进，正是登临诗的典型结构。诵读此诗，宜以清新的语调读「层台缥缈压城闉」的春色，以旷达的语调读「沙边鸥鹭亦相亲」的忘机，结句要读得舒展而有余韵，方能传达出陆游的清新俊逸。陆游七律以「雄浑悲壮」著称，此诗却是其清新旷达的一面。

Line by line

萦回水抱中和气，平远山如酝藉人

Winding waters enfold a centered, harmonious spirit; distant level hills are like a man of composed reserve.

萦回之水抱中和之气，平远之山如含蓄之人。

The winding river holds a harmony of temperament; the level, distant hills are like a reserved, cultivated man.

此二句是全诗写山水的核心，以萦回水写水，以平远山写山，写尽山水的性情，是千古名句。「萦回水抱中和气」写萦回之水抱中和之气——那「萦回水」写萦回的水，「抱中和气」写抱中和之气，写尽水的含蓄；「平远山如酝藉人」写平远之山如含蓄之人——那「平远山」写平远的山，「如酝藉人」写如含蓄之人，写尽山的温厚。这句的深意在于：它以「萦回水抱中和气」的水与「平远山如酝藉人」的山，写尽山水的性情——萦回之水抱中和之气，那「萦回水抱中和气」写尽水的含蓄——萦回之水，抱中和之气，正是水的温润，那「抱中和气」写尽水的温厚；平远之山如含蓄之人，那「平远山如酝藉人」写尽山的温厚——平远之山，如含蓄之人，正是山的浑厚，那「如酝藉人」写尽山的温厚；那「萦回水抱中和气」写尽水的含蓄，那「平远山如酝藉人」写尽山的温厚，一写水，一写山，写尽山水的性情——水抱和气而山如酝藉，正是山水的中和温厚；此二句以水、山写尽山水的性情，也让此二句成为全诗写山水的核心与千古名句。若换作直说「山水很美」，则失其性情；唯以「萦回水抱中和气」写水、「平远山如酝藉人」写山，写尽山水的性情，也让此二句成为全诗写山水的核心。

Lu You, the frontier fighter, unexpectedly praises the landscape's moderation. The winding river holds a harmony of temperament—water that loops back on itself rather than rushing; the level, distant hills are like a reserved, cultivated man. The personification is ethical: the river and hills are Confucian gentlemen, balanced, restrained, undemonstrative. It is a strange poem for the war-poet, and the strangeness is the point—on this height, even Lu You can admire what he is not. To have said the river and hills were gentle would be scenery; the harmonious river and the gentlemanly hills are the temperament.

放尽樽前千里目，洗空衣上十年尘

I let my thousand-mile vision range fully before the cup; and wash clean the ten years' dust upon my clothes.

樽前放尽千里之目，洗空衣上十年风尘。

Over the wine cup I let my eyes take in a thousand li; I wash clean the ten years of dust upon my robe.

此二句是全诗写畅怀的核心，以放尽樽前千里目写极目，以洗空衣上十年尘写涤尘，写尽观景的畅怀，是千古名句。「放尽樽前千里目」写樽前放尽千里之目——那「放尽」写放尽，「樽前千里目」写樽前放目千里，写尽极目的畅快；「洗空衣上十年尘」写洗空衣上十年风尘——那「洗空」写洗尽，「衣上十年尘」写衣上十年风尘，写尽涤尘的畅快。这句的深意在于：它以「放尽樽前千里目」的极目与「洗空衣上十年尘」的涤尘，写尽观景的畅怀——樽前放尽千里之目，那「放尽樽前千里目」写尽极目的畅快——樽前放目，一览千里，正是登高望远的畅快，那「放尽」写尽极目的无遗；洗空衣上十年风尘，那「洗空衣上十年尘」写尽涤尘的畅快——十年宦海风尘，今日洗空，正是涤尽尘虑的畅快，那「洗空」写尽涤尘的彻底；那「放尽樽前千里目」写尽极目的畅快，那「洗空衣上十年尘」写尽涤尘的畅快，一写极目，一写涤尘，写尽观景的畅怀——放目千里而洗空十年尘，正是登临的畅怀；此二句以极目、涤尘写尽观景的畅怀，也为后四句的山水作铺垫，也让此二句成为全诗写畅怀的核心与千古名句。若换作直说「登高望远很畅快」，则失其凝练；唯以「放尽樽前千里目」写极目、「洗空衣上十年尘」写涤尘，写尽观景的畅怀，也让此二句成为全诗写畅怀的核心。

The couplet is release. Over the wine cup I let my eyes take in a thousand li; I wash clean the ten years of dust upon my robe. The two actions are matched: the gaze flung outward as far as the eye can reach, and the dust of a decade of official life washed off the body. The ten years is the weight—the wandering, the exiles, the thwarted campaigns—and the view is its temporary rinsing. To have said the prospect made me feel released would be a feeling; the thousand-li gaze and the washed ten-year dust are the release.

Study

Word focus

洗空 Wash clean / drain away. In 'wash clean the ten years' dust upon my robe' (xi kong) means the dust of official life is utterly cleansed, signaling both thorough release from weariness and the poet's open, free heart. 「洗空衣上十年尘」之「洗空」是写畅怀的关键词，一个「洗空」写尽涤尘的彻底。洗空者，洗尽、涤尽也。陆游以「洗空衣上十年尘」写畅怀，这个「洗空」至少有双重意味：其一，写涤尘之尽——那「洗空衣上十年尘」写洗空衣上十年风尘，那「洗空」写尽涤尘的彻底——十年风尘，一洗而空，正是涤尽尘虑的写照，那「洗空」写尽涤尘的彻底；其二，写胸襟之旷——那「洗空」更是写旷——洗空风尘，正见胸襟的开旷，那「洗空」写尽胸襟的开旷。以「洗空」写畅怀，正是陆游写旷达的枢纽——若换作「洗净」「涤尽」等词，则或失其与「十年尘」的配合，或失其写洗空的意味；唯「洗空」二字，以洗空衣上十年尘写尽涤尘的彻底与胸襟的开旷，与「放尽樽前千里目」的放尽相合，写尽观景的畅怀，也让「洗空衣上十年尘」成为全诗写畅怀的名句。

机心 Scheming mind. In 'the scheming mind is gone for good' (ji xin) cites the Zhuangzi ('who has mechanical deeds has a mechanical mind'); its absence proves the poet's forgetful ease, the very condition that lets the gulls draw near. 「更喜机心无复在」之「机心」是写忘机的关键词，一个「机心」写尽世故的机巧。机心者，机巧之心也，语出《庄子·天地》「有机事者必有机心」。陆游以「更喜机心无复在」写忘机，这个「机心」至少有双重意味：其一，写机巧之消——那「更喜机心无复在」写更喜机心已无复在，那「机心」写尽机巧之心——机心消尽，正是忘机的写照，那「机心」写尽世故的机巧；其二，写超脱之喜——那「机心」更是写喜——机心无复在，正见超脱的喜悦，那「机心」写尽超脱的欣喜。以「机心」写忘机，正是陆游写超脱的枢纽——若换作「俗念」「尘虑」等词，则或失其与「鸥鹭相亲」的配合，或失其写机心的典故；唯「机心」二字，以更喜机心无复在写尽机巧之消与超脱的欣喜，与「沙边鸥鹭亦相亲」的鸥鹭相合，写尽忘机的喜悦，也让「更喜机心无复在」成为全诗写忘机的名句。