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明 Ming · 词 Ci lyric

摊破浣溪沙·初夏

Broken-Form Wash-Stream Sand · Early Summer (Returning from a Night Drink)

陈继儒

Chen Jiru

感怀reflection 隐逸reclusion

摊破浣溪沙·初夏夜饮归桐树花香月半明，棹歌归去蟪蛄鸣。
曲曲柳湾茅屋矮，挂鱼罾。
笑指吾庐何处是？
一池荷叶小桥横。
灯火纸窗修竹里，读书声。

Paulownia flowers' scent, the moon half bright; boat-song returning, cicadas sing.
In the winding willow bay, the thatched hut low—a fish net hung.
Laughing, I point: where is my dwelling? A pool of lotus leaves, a small bridge lies across.
In the paper-windowed bamboo, lamplight—the sound of reading.

Listen

Meaning

Paulownia flowers scent the air, the moon half bright, all the more secluded; rowing and singing a boat-song home, all the way cicadas sing. In the winding willow-shaded bay, before the low thatched hut, a fish net is hung. Laughing, I ask where my home is—by the lotus-filled pool, where a small bridge lies across. In the bamboo, paper windows show lamplight, and the sound of reading comes forth.

桐树花开，清香阵阵，月色半明，更显清幽；划着小船唱着渔歌归来，一路听见蟪蛄的鸣声。弯弯曲曲的柳荫河湾里，矮矮的茅屋前，挂起了渔网。笑着问我的家究竟在何处？就在那一池荷叶、一道小桥横卧的地方。修竹摇曳、纸窗透出灯火的人家里，传出了阵阵读书声。

Appreciation

Chen Jiru, courtesy Zhongrong and style Mei Gong, a Wanli-era man of letters and painter who at twenty-nine retired to East She Mountain, shut his door, declined every summons for illness, and was nicknamed 'Prime Minister of the Mountains'. The lyric's upper part plainly describes paulownia, half-moon, boat-song, insect sound, willow bay, thatched hut and fish-net into a quiet, harmonious early-summer night; the lower part turns to the person — 'laughing, I point' asks where his dwelling is, by the lotus pool where a small bridge lies across — and closes on paper-windowed bamboo lamplight and the sound of reading, writing stillness through sound. Its white-description and picture layers, the bright manner of 'laughing, I point', and that closing line of sound-in-stillness are its chief wonders.

【白话串讲】陈继儒初夏夜里喝完酒回家：桐树花香，月半明，唱着歌，蟪蛄叫。“一池荷叶小桥横，灯火纸窗修竹里，读书声”——一幅明代文人的夜归图。【意象与手法】上片纯用白描铺排桐花、半月、棹歌、虫鸣、柳湾、茅屋、鱼罾，构成宁静和谐的夏夜画卷；下片以「笑指」设问引出居所，结句「灯火纸窗修竹里，读书声」以听觉写静，动静相生。语言不假雕饰而画意诗情盎然。【情感与主旨】陈继儒字仲醇，号眉公，明万历间文学家、书画家。年二十九隐居东佘山，杜门著述，屡奉诏皆以疾辞，世称「山中宰相」。此词约作于隐居期间，写初夏夜归，展现其潇洒出尘的隐逸生活与心境。【名句点睛】考点：①白描手法与画面层次（上片景、下片人）；②「笑指」一词的情态与章法作用；③结句以声写静的妙处；④「半明」「横」等字的炼字效果。

Background

Chen Jiru, courtesy Zhongrong, style Mei Gong, a Wanli-era man of letters and painter. At twenty-nine he retired to East She Mountain, closed his door to write, declined all summons for illness, called 'Prime Minister of the Mountains'. This lyric was likely written during his retirement, writing an early-summer night return, showing his free and unworldly reclusive life and mood.

陈继儒（1558—1639），字仲醇，号眉公，又号麋公，松江府华亭（今上海松江）人，明代文学家、书画家、山人，与董其昌齐名。陈继儒少负才名，年二十九即焚儒衣冠，隐居东佘山（今上海松江），杜门著述，朝廷屡奉诏征用，皆以病辞，世称「山中宰相」。他一生不入仕途，而以布衣终老，交游皆名士，著述甚富，有《小窗幽记》《妮古录》《书画史》等传世，其《小窗幽记》尤为后世传诵。此词约作于陈继儒隐居东佘山期间。东佘山在松江之滨，山明水秀，陈继儒于山中筑室读书，门前荷塘小桥，屋后修竹掩映，过着闲云野鹤般的隐逸生活。此词写初夏之夜，词人饮酒归来，棹歌、虫鸣、茅屋、鱼罾、荷叶、小桥、灯火、读书声，一路写来，皆是其日常生活的写真，展现了一位明代「山人」潇洒出尘的隐逸生活与恬淡自足的心境。明中叶以后，江南文人多尚隐逸与闲适之趣，陈继儒此词正是这一时代风气与个人志趣的完美融合。

Art

The upper part purely white-describes paulownia, half-moon, boat-song, insect sound, willow bay, thatched hut, fish net, forming a quiet harmonious early-summer night picture; the lower part uses 'laughing, I point' to ask and reveal the dwelling, closing 'In the paper-windowed bamboo, lamplight—the sound of reading' writing stillness through sound, motion and stillness breeding. The language unworked yet full of pictorial poetry.

此词艺术上以「白描写意、以声写静」为最大特色，语言不假雕饰而画意诗情盎然。上片纯用白描铺排：「桐树花香月半明」写视觉与嗅觉——桐花盛开，香气袭人，月色半明，清幽朦胧；「棹歌归去蟪蛄鸣」写听觉——唱着渔歌划船归来，一路听见蟪蛄的鸣声；「曲曲柳湾茅屋矮，挂鱼罾」写居所——弯弯曲曲的柳荫河湾边，矮矮的茅屋前挂着渔网。桐花、半月、棹歌、虫鸣、柳湾、茅屋、鱼罾，七种意象依次铺开，构成一幅宁静和谐的夏夜归家图。下片转写归家之乐：「笑指吾庐何处是？一池荷叶小桥横」以「笑指」设问引出居所——荷叶满池、小桥横卧，正是居处的标志，一个「笑」字点亮全篇，写出词人对隐居环境的由衷自得；「灯火纸窗修竹里，读书声」以听觉收束——修竹掩映的纸窗里透出灯火，传出阵阵读书声，以声写静，动静相生，于安宁中见精神之充实。全词由景到人、由动到静，白描之中见深致，余韵悠长。

Allusions

The lyric uses no obvious allusion, purely white-describing from life. Only 'boat-song' derives from Chu Ci·Fisherman 'he rowed away, singing', the fisherman tradition; 'fish net' is the common Jiangnan frame-net, all taking ordinary things before the eye, exactly Mei Gong's 'near-natural language, unworked' aim, gaining Tao and Wei's legacy.

此词用典极少，纯以白描写生，然个别语汇自有渊源。「棹歌」一语本于《楚辞·渔父》「鼓枻而去，乃歌曰：沧浪之水清兮，可以濯吾缨」的渔父传统——渔父鼓棹而歌，是隐逸者的典型形象，陈继儒「棹歌归去」正承此渔父精神，写自己如渔父般泛舟归隐，暗含「沧浪」之志。「蟪蛄」为蝉的一种，《庄子·逍遥游》「蟪蛄不知春秋」以蟪蛄喻生命短暂，此处写夏夜蟪蛄鸣声，点明时节，亦暗含《庄子》齐物逍遥之思，与词人的隐逸心境相合。「鱼罾」为江南常见的扳罾（渔网），为眼前寻常物事，非用典。「纸窗」「修竹」承隐逸传统：陶渊明《归去来兮辞》「倚南窗以寄傲」写窗之寄傲，王维《竹里馆》「独坐幽篁里」写竹之清幽，此处「纸窗修竹里，读书声」将窗、竹、书声并置，正是文人隐居读书生活的经典图景。全词以眼前景写隐逸情，得陶韦遗意，正见眉公「语近自然、不事雕饰」之旨。且「读书声」承杜甫《夜宴左氏庄》「检书烧烛短，看剑引杯长」之书斋传统，以书声写隐者之精神世界，正见文人隐居「以读为耕」的独特生活方式。

Commentary

Ming Ci Zong says Chen Jiru's lyrics 'clear, far, leisurely free, like the man'; Li Dai Ci Hua says 'Mei Gong's lyrics mostly write forest-spring joy, near-natural language, unworked, gaining Tao and Wei's legacy'. This lyric's closing 'sound of reading' lights up the whole.

此词为陈继儒词中的名篇，历代评价颇高。《明词综》评陈继儒词「清远闲放，类其为人」，《历代词话》谓「眉公词多写林泉之乐，语近自然，不事雕饰，得陶韦之遗意」，正可移评此词——其清远闲放、自然天成的风格，正是陈继儒其人其性的写照。此词结句「灯火纸窗修竹里，读书声」以听觉写静、以景收情，为历代论者所称赏：先以「笑指吾庐何处是」设问，再以「一池荷叶小桥横」作答，最后以「读书声」一点，全篇生辉——桐花月色、棹歌虫鸣的浮景，至此凝聚为修竹灯火中的一声读书，隐者的精神世界跃然纸上。从文学史角度看，此词体现了明代「山人文学」的典型风貌：明中叶以后，江南文人以隐逸为尚、以闲适为美，词多写山水园林、琴书诗酒之乐，陈继儒此词正是这一风气的代表。与《小窗幽记》中「闭门阅佛书，开门接佳客」的闲雅意趣一脉相承，此词以六十二字写尽隐居之乐，是明代小令中「以简驭繁、以淡写浓」的佳作。

Prosody

Form Lyric, 'Broken-Form Wash-Stream Sand' (added-word Wash-Stream Sand), double-tune 42 characters词·《摊破浣溪沙》（添字浣溪沙）双调四十二字

Rhyme Ci Lin Zheng Yun eleventh group (bright, sing, net, across, sound)《词林正韵》第十一部（明、鸣、罾、横、声）

Tone pattern Level rhyme; upper three level rhymes, lower two level rhymes平韵，上片三平韵、下片两平韵，句式三七七三、七七七三

Reading note Upper last line three-character short close; lower closes with seven-character, sparse like a short lyric.此词为《摊破浣溪沙》（又名《山花子》、添字《浣溪沙》）双调四十二字，上片四句三平韵，下片四句两平韵，押《词林正韵》第十一部（庚青韵）「明」「鸣」「罾」「横」「声」五字。庚青韵字音清亮悠长，与全词写夏夜清景、闲适心境的格调相谐。《摊破浣溪沙》为《浣溪沙》之变体，于《浣溪沙》上下片各增三字（「挂鱼罾」「读书声」），句式由「七七七三」构成：上片「桐树花香月半明，棹歌归去蟪蛄鸣。曲曲柳湾茅屋矮，挂鱼罾」为七七七三句式，下片「笑指吾庐何处是？一池荷叶小桥横。灯火纸窗修竹里，读书声」亦为七七七三句式，上下片末句皆以三字短句收束，音节顿挫，如画龙点睛。此调为唐五代以来常用词牌，李璟《摊破浣溪沙》「菡萏香销翠叶残」为其名篇，陈继儒此词承其清丽之调而更见疏朗，上片末句三字短收、下片结以七言三字，疏朗如小令，是明人小令中的佳作。

Line by line

桐树花香月半明，棹歌归去蟪蛄鸣。

Tung flowers scent the half-bright moon; I row home to the song of the katydids.

桐树花开，清香阵阵，月色半明；划着小船唱着渔歌归来，一路听见蟪蛄的鸣声。

Tung flowers give off fragrance in the half-bright moon; rowing home to the boat-song, the katydids cry.

「桐树花香月半明，棹歌归去蟪蛄鸣」为全词起句，视听结合，以淡远之景写归隐之适。「桐树花香」写嗅觉——初夏桐花盛开，香气弥漫，沁人心脾；「月半明」写视觉——月色半明半暗，正是初夏之夜清幽朦胧的光景，「半」字下得精妙，满月太亮、无月太黑，半明之月正宜夜归；「棹歌归去」写动态——词人唱着渔歌，划船归来，逍遥自在，暗含渔父之乐；「蟪蛄鸣」写听觉——夏夜的蟪蛄鸣声此起彼伏，点明时节。此起句四事并陈，嗅觉、视觉、听觉、动态交织，由花香而月色、由棹歌而虫鸣，声色并作而意境宁静，一幅夏夜泛舟归家的图画跃然纸上，起笔即定下全词闲适清幽的基调。

The homecoming. Tung flowers scent the half-bright moon; I row home to the song of the katydids. The tung scent, the half moon, the rowing song, and the katydids are the opening. To have rowed home to the katydids would be a homecoming; the tung-flowers-scent-the-half-bright-moon-I-row-home-to-the-song-of-the-katydids is the homecoming.

曲曲柳湾茅屋矮，挂鱼罾。

Bend on bend of willow-fringed cove, a low thatched hut, a fishing net hung up.

弯弯曲曲的柳荫河湾里，矮矮的茅屋前，挂起了渔网。

Winding willow coves, low thatched hut, a fishing net hung up.

「曲曲柳湾茅屋矮，挂鱼罾」为全词上片收束，由归途之景写到居所，画面渐次收拢。「曲曲柳湾」写河湾之景——柳荫夹岸，河湾弯弯曲曲，一个「曲曲」叠词，写尽柳湾的蜿蜒幽深；「茅屋矮」写居所之貌——矮矮的茅屋临水而居，简陋而亲切，「矮」字写出茅屋的朴素，也写出居处的野趣；「挂鱼罾」写屋前之物——渔网挂在屋前，点明水乡人家，也暗示词人渔隐的生活。「挂鱼罾」三字尤为传神：茅屋、鱼罾，正是渔家隐居的标志，屋虽矮而自足，网虽旧而有获。此三句由远及近、由大到小，柳湾、茅屋、鱼罾层层收拢，将归家的路线与居处的面貌写得如在目前，白描之中，隐逸生活的自得之趣自然流露。

The hut. Bend on bend of willow-fringed cove, a low thatched hut, a fishing net hung up. The winding willow coves and the low hut with the hung net are the dwelling. To have hung up the fishing net would be a detail; the bend-on-bend-of-willow-fringed-cove-a-low-thatched-hut-a-fishing-net-hung-up is the detail.

笑指吾庐何处是？一池荷叶小桥横。

Laughing, I ask where my cottage is—there, where a pond of lotus leaves is crossed by a small bridge.

笑着问我的家究竟在何处？就在那一池荷叶、一道小桥横卧的地方。

Laughing, I point: where is my cottage? By that pond of lotus leaves, crossed by a small bridge.

「笑指吾庐何处是？一池荷叶小桥横」为全词下片起句，以「笑指」设问引出居所，是全词情致最明媚的一笔。「笑指」写动作与情态——词人笑着一指，指向自己的居所，一个「笑」字点亮全篇：这笑是自得之笑——隐居东佘山，门前荷塘、屋后修竹，志得意满；也是亲切之笑——归家在望，心中喜悦，见其心境之明畅。「吾庐何处是」设问，问而不答，以景作答：「一池荷叶小桥横」——就在那一池荷叶、一道小桥横卧的地方。荷叶满池、小桥横卧，画面清丽宁静，正是文人理想中的居所。此问答之妙在于以景代答、不答而答：居处之美，尽在荷叶小桥之间，无须多言。此句以「笑」写情、以景写居，是全词由归途转入家园的枢纽，明快之中见雅致。

The pond. Laughing, I ask where my cottage is—there, where a pond of lotus leaves is crossed by a small bridge. The laughing question and the lotus-pond-and-bridge answer are the bright moment. To have laughed and pointed would be a gesture; the laughing-I-ask-where-my-cottage-is-there-where-a-pond-of-lotus-leaves-is-crossed-by-a-small-bridge is the gesture.

灯火纸窗修竹里，读书声。

Lamplight through the paper window among the tall bamboos—and the sound of reading.

修竹摇曳、纸窗透出灯火的人家里，传出了阵阵读书声。

Lamplight through the paper window amid tall bamboos, and the sound of reading.

「灯火纸窗修竹里，读书声」为全词结句，以听觉写静，于安宁中见精神充实，余韵悠长。「灯火」写屋内之光——夜色已深，屋内点着灯火，是归家的温暖；「纸窗」写窗之素雅——纸糊的窗户透出灯光，是文人书斋的意象；「修竹里」写屋外之景——修竹掩映，竹影摇曳，是高洁的象征。三词连写，灯火、纸窗、修竹，屋内外景致一体，如一幅淡雅的夜居图。最后以「读书声」三字点出画外之声——从纸窗修竹里传出阵阵读书声。此结之妙有三：其一，以声写静，深夜读书声，反衬出山居之宁静，愈静愈见书声清亮；其二，以声写人，读书声点出屋中之人正是词人自己——归家后即在灯下读书，隐者的精神生活由此升华，浮世之乐（饮酒夜归）与书斋之乐（灯下读书）合一；其三，以声结情，全词至此戛然而止，而读书声余音袅袅，隐逸生活的充实与高雅，尽在这声声书读之中。

The reading. Lamplight through the paper window among the tall bamboos—and the sound of reading. The lamp and paper window and tall bamboo and the sound of reading are the close. To have closed on the sound of reading would be a close; the lamplight-through-the-paper-window-among-the-tall-bamboos-and-the-sound-of-reading is the close.

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Word focus

半明 'The moon half bright' writes the crescent's clear glow, more secluded than full moon, fitting the recluse's mood. 「桐树花香月半明」之「半明」，为全词炼字的一处妙笔，较满月光更添幽静，切合隐者心境。「半」为副词，写月之明度——月色半明半暗，不是满月之朗照，也不是新月之昏昧，而是恰到好处的朦胧清辉。此字之妙有三：其一，以半写景，初夏之夜，月色半明，光线柔和朦胧，正是夜归者眼中最宜人的月色——太明则刺目，太暗则难行，「半明」恰到好处，写出夜色之美；其二，以半写境，「半明」之月与「桐树花香」相配，花香在月色中弥漫，景物半明半暗，正是隐居之所清幽朦胧的意境——隐者的生活不须大放光明，半明半暗正好；其三，以半写心，满月之明如功名之盛，半明之月如隐者之淡，「半明」二字暗含词人淡泊自守、不求圆满的心境。一字「半」，写景写境写心，含蓄蕴藉，是陈继儒炼字的精到处。

笑指 'Laughing' turns a word, brightening the whole lyric, showing heartfelt contentment with the reclusive setting. 「笑指吾庐何处是」之「笑指」，为全词情致的点睛之笔，一字点亮全篇。「笑」写情态，「指」写动作，合观即笑着指去，其自得、其欣悦、其亲切，尽在这一笑一指之间。此词之妙有三：其一，以笑写志，隐居东佘山、杜门著书，本是词人的人生选择，此刻归家，笑指吾庐，正是对自己隐居生活发自内心的肯定与自得——这一笑，笑的是「吾庐」之美、隐居之乐，也是笑对功名利禄的弃绝；其二，以笑写人，一个「笑」字，将词人潇洒出尘、旷达自适的神情写得如在目前——不是矜持的笑，不是苦笑，而是发自内心的欣然一笑，隐者的形象由此鲜活；其三，以笑启答，「笑指」引出「吾庐何处是」的设问与「一池荷叶小桥横」的作答，一笑一问一答，章法灵动，全词的明媚情调由此而生。二字传神，是明人小令中写人物情态的妙笔。

横 'A small bridge lies across'—'lies across' writes the bridge resting easy on the wave, with 'a pool of lotus leaves' reflecting, natural wild charm. 「一池荷叶小桥横」之「横」字，写出小桥之悠然卧波，与「一池荷叶」相映，野趣天成。「横」本指横向、横卧，此处写小桥横跨池上，如一条卧波的玉带。此字之妙有三：其一，以横写静，小桥「横」于池上，静止不动，与荷叶之田田、池水之涟漪相映，一静一动，画面安宁而有生机；其二，以横写姿，桥不是竖立的（那不成桥），而是横卧水面的，「横」字写出小桥与水面、与池岸的关系，姿态舒展从容，如隐者之闲卧，野趣盎然；其三，以横写境，「横」字使小桥成为画面的横轴，与荷叶的满池之景纵横交织，构图稳当而灵动，正是文人画中「小桥流水」的典型意象——桥横荷叶之上，人立小桥之畔，居处之清雅如画。一字「横」，以最平常的字写最入画之景，是白描中见功力的典范。