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汉 Han · 诗 Poem

回车驾言迈

Turning the Carriage to Drive Afar

古诗十九首

Anonymous

人生Life 哲理Philosophy

回车驾言迈，悠悠涉长道。
四顾何茫茫，东风摇百草。
所遇无故物，焉得不速老。
盛衰各有时，立身苦不早。
人生非金石，岂能长寿考？
奄忽随物化，荣名以为宝。

Turning the carriage, I drive afar,
Gazing out at the distant, winding road.
In the four directions, a vast, empty wild,
Where the eastern wind shakes the hundred grasses.
What is met is all new, none of it old,
How can one not grow aged in a moment?
Prosperity and decline each have their time,
Success and failure are not for us to command.
Man’s life is brief, like a passing guest,
Why not strive for the long-lasting fame?
Better to drink fine wine and enjoy oneself,
Than to worry about the white hair on one’s head.

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Meaning

One of the 'Nineteen Old Poems,' this work reflects on the transience of life and the inevitability of aging. Observing the changing seasons and the vastness of the world, the poet concludes that since life is short, one should either seek fame or, more practically, enjoy the present moment with wine.

掉转车头，驾着车子远行；路途悠悠，要跋涉漫长的远道。四下张望，何等苍茫一片；东风吹来，摇动了无边百草。一路所遇再无旧时之物，人怎能不迅速衰老。兴盛衰败各有其时节，立身建业只恨不曾趁早。人生不像金石般坚固，岂能长留寿命到老？忽然之间便随万物化去，还是把荣名当作珍宝。

Appreciation

This poem captures the profound existential anxiety of the Han dynasty intellectual. The image of the 'eastern wind shaking the hundred grasses' is a classic metaphor for the passage of time. The poem is notable for its transition from landscape observation to philosophical resignation.

【白话串讲】 “回车驾言迈，悠悠涉长道”——古诗十九首写：驾车远行。“所遇无故物，焉得不速老”——眼前都是新物，人怎能不老？“人生非金石，岂能长寿考”——“奄忽随物化，荣名以为宝”——他劝人追求名声。【意象与手法】由驾车远行起兴，层层转入对生命短促、立身宜早的感慨。前四句叙事写景，“东风摇百草”的春景中“茫茫”二字暗藏苍凉；中四句由景入理，“所遇无故物”触发速老之叹；末四句再由理及戒，“人生非金石”以金石反衬生命之脆。全诗十二句、二句一层，反复剀陈而转转入深。【情感与主旨】借驾车远行写对生命短促、立身宜早的感慨，以“荣名以为宝”结出自好之旨。与同组“及时行乐”“争据要路津”各成一境，展现汉末士子在生命之谜前的不同思索，而此诗洁身自好、以名为宝的格调似更高一层。【名句点睛】常考“所遇无故物，焉得不速老”以景物变迁写人生易老；“人生非金石，岂能长寿考”以金石反衬生命之脆。

Background

The 'Nineteen Old Poems' (Gushi Shijiu Shou) were composed during the late Eastern Han, a period of political instability. They represent the first peak of five-character (Wuyan) poetry in China.

《古诗十九首》为东汉末年无名氏文人五言诗之总集，南朝梁萧统编《文选》时汇辑十九首，冠以是名，作者皆不可考，约产生于桓灵之际至建安以前，正值汉室崩解、党锢之祸与战乱频仍之时。士人仕途阻塞、生命无托，乃于行旅、宴游、闺思中发为人生之喟叹。《回车驾言迈》即其中抒写人生感慨之作。诗以回车远行、长道悠悠起笔，主人公当是一位游宦多年、功名未显而还乡或辗转移徙的士子；四顾茫茫、东风摇百草的春野，引发其所遇无故物、焉得不速老的惊心——所见皆新，己身已旧。汉末社会动荡，下层士子被时代播弄，既无显达之阶，又感人生奄忽，遂于诗中作哲理性的自励自警：盛衰有时，立身苦早，而以荣名为宝。此诗因此不惟是个人叹老，更是汉末文人群体生命觉醒与价值焦虑的缩影，与《青青陵上柏》《驱车上东门》等同组诸诗合观，可见一代士心的多面。《回车驾言迈》为《古诗十九首》之一，约产东汉末年，作者无名氏。时汉室崩解、士人仕路阻塞，乃于行旅中发人生之喟叹。诗以回车远行、长道悠悠起笔，主人公当是一位游宦多年、功名未显而辗转移徙的士子；四顾茫茫、东风摇百草引发所遇无故物、焉得不速老之惊心。此诗因此不惟个人叹老，更是汉末文人群体生命觉醒与价值焦虑的缩影。

Art

The use of 'expansive landscape' to reflect 'internal void' is a key artistic feature. The contrast between the 'lasting grasses' and 'short life' heightens the sense of tragedy.

此诗艺术在以景起兴、以理收束，而理语中饶有情韵，不堕枯索。起手回车驾言迈，悠悠涉长道叙事，平平道来却暗含行旅无已、不知所税驾的漂泊感；四顾何茫茫，东风摇百草写景，茫茫写原野之阔，摇写春风之疾，何字隐露不怡，以乐景（春风百草）反衬哀心，已伏速老之脉。所遇无故物，焉得不速老由景入情，是枢纽：无故物三字将外在物换暗转为内在年逝，逻辑极密。以下盛衰各有时、立身苦不早、人生非金石、岂能长寿考，二句一层，层层逼进，如剥笋转深；末以奄忽随物化，荣名以为宝收束，由叹转诫。全诗句句相生，由行而望、由望而感、由感而思、由思而诫，结构天然。其语似《论语》之质，而其情韵近《诗经》，所谓质而不野、浅而能深，最见古诗浑成之妙。起手回车驾言迈，悠悠涉长道叙事，暗含漂泊无依；四顾何茫茫，东风摇百草以乐景反衬哀心。所遇无故物，焉得不速老由景入情，是枢纽。以下盛衰各有时、立身苦不早、人生非金石、岂能长寿考二句一层，层层逼进；末以奄忽随物化，荣名以为宝收束。全诗句句相生，由行而景、由景而情、由情而理、由理而诫，结构天然，质而不野、浅而能深。

Allusions

It draws on the Taoist and Confucian tensions between serving the state (seeking fame) and self-preservation (drinking wine).

诗多化用前典而若出胸臆。回车驾言迈中言为语助辞，回车语本《楚辞》与《史记》中转身还车之意，驾言迈则近《诗经·小雅》驾言出游。东风摇百草承《礼记·月令》东风解冻与《楚辞》东风飘兮木叶下之东风意象，而以摇字写百草之动，暗喻时光流驶。无故物反用《左传》故物之常，言物换而人老。人生非金石用《古诗》他篇与《庄子》人之生也固若是芒乎之意，以金石之固反衬生命之脆，与《驱车上东门》人生忽如寄、《青青陵上柏》忽如远行客同一喻群。奄忽用《汉书》奄忽如神之奄忽，状倏忽；随物化用《庄子》万物化生之化，指死亡。荣名语出《战国策》立荣名与《淮南子》生有荣名，指美名令誉。诸典皆汉人习用之语，经诗人熔铸，遂成不假雕饰而含典重的五言至境，是文人诗脱乐府而自立语汇的关键一步。回车驾言迈中言为语助，驾言迈近《诗经》驾言出游；东风摇百草承《礼记》东风解冻与楚辞东风之象。无故物反用故物之常。人生非金石用古诗与庄子以金石反衬生命之脆，与驱车上东门人生忽如寄同喻群。奄忽用《汉书》奄忽如神，随物化用《庄子》化生。荣名出《战国策》立荣名与《淮南子》生有荣名。诸典皆汉人习语，经熔铸成不假雕饰而含典重的五言至境。

Commentary

Zhong Rong in his 'Shipin' praised these poems for being 'plain but meaningful.' This piece specifically highlights the melancholy of the era.

首二句回车驾言迈，悠悠涉长道，叙事起笔：掉转车头、驾车远行，长道悠悠言路之漫无止境，已含漂泊无依之感。三、四句四顾何茫茫，东风摇百草，写行中所见：原野茫茫，春风摇动百草，景虽春而茫茫二字透苍凉，摇字见时序之疾。五、六句所遇无故物，焉得不速老，由景入情，为一诗枢轴：沿途皆新物，反衬己身之旧，故而生速老之叹。七、八句盛衰各有时，立身苦不早，由叹转思：草木盛衰有其时，人立身建业亦当趁盛时，苦不早写恨晚。九、十句人生非金石，岂能长寿考，以金石之固反衬生命之脆，长寿考谓老寿，言纵寿亦有限。末二句奄忽随物化，荣名以为宝，收束全篇：生命倏忽化去，唯令名可宝。十二句二句一转，由行而景、由景而情、由情而理、由理而诫，层层深入，结以荣名为宝，将汉末士子于乱世中洁身自好、以名为归的人生态度写得分明。首二句回车驾言迈，悠悠涉长道叙事起笔，已含漂泊之感。三、四句四顾何茫茫，东风摇百草写行中所见，茫茫透苍凉。五、六句所遇无故物，焉得不速老由景入情，为一诗枢轴。七、八句盛衰各有时，立身苦不早由叹转思。九、十句人生非金石，岂能长寿考以金石反衬生命之脆。末二句奄忽随物化，荣名以为宝收束，将汉末士子洁身自好的人生态度写得分明。

Prosody

Reading note Early five-character form; emphasizes natural flow and emotional depth over strict tonal patterns.此诗为五言古诗，十二句，不入乐律而天然成韵，属《古诗十九首》典型之平调。其句式全为五言，二句一意、二句一转，无严格对仗而多语意相贯。押韵方面，古诗句尾或韵或否，此诗迈、道、草、老、早、考、宝大致随段落协韵（迈道同宵、草老同幽、早宝同豪、考幽宵通协），汉魏五言本随口吻协韵，不求谨严，故读来浏亮而不过拘。平仄上虽非近体，而回车驾言迈（平平仄平仄）、悠悠涉长道（平平仄平仄）等句已暗合后世仄起之调；四顾何茫茫（仄仄平平平）、东风摇百草（平平平仄仄）则平仄相生。全诗以散句为主，间以反诘（焉得不速老、岂能长寿考）与感叹（苦不早、以为宝），语气跌宕。其节奏如行云流水，二句一顿，正合由行而景、由景而理、由理而诫的层进结构，是五言古诗以气运句、不以律束句的代表。

Line by line

所遇无故物，焉得不速老。

Nothing I meet is the old thing; how could I not grow old so soon?

Nothing I encounter is the old thing; how could I help growing old so quickly?

此二句为全篇枢纽，由外在景物翻入内在生命之叹，最见古诗即物起情之妙。无故物三字平实却力重：一路所见皆非旧识，物之换新反照人之渐旧。诗人不直说己老，而借物之故新反衬，便有春风百草依旧、而行者已非少年之痛。焉得不速老以反诘出之，语气不容置疑，将前文东风摇百草的摇（时序之疾）坐实为人生之速老。此联上承四顾茫茫之景，下开盛衰立身之思，是景情理三者的榫卯。其所以动人，在把抽象的年华之逝写得可触——不是叹老，而是被新物提醒了老，这种被景物倒逼出的苍凉，正是汉末古诗最深切处，亦开后世物是人非诸作（如欧阳修去年元夜时）之先声。

The pivot. Nothing I encounter is the old thing; how could I help growing old so quickly? The poem does not say I feel old; it says the world has renewed itself, and the traveler, by comparison, has aged. The newness of everything is the mirror. To have said I felt old in a changed world would be a statement; the absence of old things and the forced quick aging are the statement.

奄忽随物化，荣名以为宝。

In a flash I shall change with all things; let honorable fame be my treasure.

In a moment I shall pass away with all created things; let honorable fame be my treasure.

此二句为全诗结穴，由叹老转入立身之诫，定下以名为宝的旨归。奄忽用《汉书》奄忽如神，状生命之倏忽；随物化用《庄子》万物化生之意，指人终归于自然、与物同化，即死亡。二句写生命之脆与逝之速，语气极沉；忽以荣名以为宝一转，于绝望中辟一生路：身躯既归化，唯令名（美誉、功业之誉）可长留为人所宝。宝字以名为主人、为珍，见其价值取舍。此结与同组驱车上东门不如饮美酒、今日良宴会先据要路津形成对照：彼或颓或竞，此则洁身以名为归，格调似更高。二句将汉末士子在生命之谜前的焦虑，收束为一种温和而坚定的自守，余味曲包，是古诗以理语作结而不枯的范例。

The resolution. In a moment I shall pass away with all created things; let honorable fame be my treasure. The suddenness (literally, in a breath) is the mortality, and the treasure of fame is the answer. The poem refuses despair and chooses the legacy. To have said since death comes fast we should seek fame would be a moral; the breath-like passing and the treasure of fame are the moral.

回车驾言迈，悠悠涉长道。

I turn the chariot and drive on, faring along the endless road.

I turn the chariot and set out, traveling far along the endless road.

此二句为全篇起笔，以行旅叙事领起人生之叹。回车谓掉转车头，驾言迈写驱车远行，悠悠涉长道以悠悠状路之漫无止境，涉写跋涉之劳。二句合看，既有转身另途之举，又有长路未央之慨，已暗伏漂泊无依、不知所税驾的身世之感。回车或暗用楚辞、史记中转身还车之意，暗示主人公由某一处境抽身而行，长道则喻人生之远。此起手不作叹老语而苍凉自生，正合古诗即事起兴之法：由实写行旅，引出下文四顾茫茫、所遇无故物之惊心，景情理由此一线串下。悠悠二字尤妙，既写路亦写忧，为全诗仓猝生命感先布其调。

The opening. I turn the chariot and set out, traveling far along the endless road. The turn of the chariot and the endless road are the figure for a life in transit. The word for faring (wading) makes the land journey feel like a crossing. To have described setting out on a long road would be travel; the turned chariot on the endless road is the life in transit.

Study

Word focus

奄忽 A key expression in the poem. Read it as an image, mood, or grammar point in context. 奄忽意为迅疾、忽然，形容时间之短与变化之猝。诗中奄忽随物化以之状生命由生到化（死）的倏忽，与人生非金石、岂能长寿考相呼应，写尽人生之脆与逝之速。奄忽本出《汉书》（如奄忽如神、奄忽龙变）与汉人常语，入五言则见古质。其妙在以一种不可抗的疾速感压住前文立身苦不早的从容，使及时之意更迫：既知奄忽，则荣名之宝不可不早立。此词在《古诗》他篇亦屡见（如《驱车上东门》亲昵并集送，不知所穷、奄忽随物化，荣名以为宝即其成对之语），是汉末文人诗标志时间焦虑的核心词，与忽如远行客之忽、奄留之奄同一词族，构成古诗特有的仓猝生命感。

立身 A key expression in the poem. Read it as an image, mood, or grammar point in context. 立身犹言树立一生之基业、建树自身于世间，义广含生计、名位、道德、事业。诗中盛衰各有时，立身苦不早以之承盛衰而来，谓草木与人皆盛衰有时，故当趁盛时立身，苦不早写恨其已晚。此词将前面所遇无故物、速老之叹，落到具体的人生态度：既不免老，则当及早建业。立身本出《论语》立德立功与《孝经》立身行道之传统，汉儒尤重之；诗中用以对治生命之脆，使叹老转为自励，遂脱及时行乐之颓，而近儒家立德之正。苦不早三字最耐味：非不能立，乃失其时，一种恨晚的焦灼溢于言表，正是汉末士子仕路阻塞而价值焦虑的写照，宜与今日良宴会争据要路津并观。

无故物 A key expression in the poem. Read it as an image, mood, or grammar point in context. 无故物犹言再无旧时之物。诗中所遇无故物，焉得不速老以之写行旅所见皆新，反衬自身之渐旧，是由物换暗转为年逝的关键。故物本指旧识之物，此处偏说无故，恰见时光流转之疾、人事变更之骤。此词妙在以外在物象之新，逼出内在生命之老：不是直叹己老，而是被新物提醒了老，这种被景物倒逼出的苍凉，正为汉末古诗最深切处。无故物与下句速老构成因果，亦与东风摇百草之动、四顾茫茫之阔相映，遂开后世物是人非诸作之先声，宜与奄忽并观其时间焦虑。