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南北朝 Northern and Southern Dynasties · 诗 Poem

江津送刘光禄不及

Seeing Off Minister Liu at Jiangjin, but Missing Him (Jiang Jin Song Liu Guang Lu Bu Ji)

阴铿

Yin Keng

送别Farewell 愁思sorrow 感怀memory

依然临江渚，长望倚河津。
鼓声随听绝，帆势与云邻。
泊处空余鸟，离亭已散人。
林寒正下叶，钓晚欲收纶。
如何相背远，江汉与城闉。

Still I stand by the river islet; I gaze long, leaning on the ferry.
The drum sound fades as I listen; the sail's shape nears the clouds.
At the mooring only birds remain; the farewell pavilion, its people scattered.
The cold wood is dropping leaves; at dusk the angler reels his line.
How is it we part so far—the Jiang and Han from the city wall?

Listen

Meaning

Yin Keng, styled Zijian, of Wuwei, a famous poet between Liang and Chen, named with He Xun as 'Yin and He.' Du Fu's 'rather learned Yin and He's painstaking heart' refers to the two. This writes the poet going to Jiangjin to see off Minister Liu (a Guanglu daifu, name unknown); arriving, the boat had left—he could only stand at the ferry and watch. In the Southern Dynasties social life was dense yet partings sudden; 'seeing off but missing' became a special farewell type, lodging the lament of life's missed meetings.

依旧伫立在江边的洲渚之上，久久眺望，倚着渡口。船上的鼓声随着听闻渐渐断绝，帆影仿佛与云为邻。停泊之处空余飞鸟，离亭之中人已散尽。寒林正飘下落叶，暮色中垂钓者正要收起钓丝。为何你我背道而驰相隔日远，江汉与城曲竟如此遥远。

Appreciation

The whole tightens on the two words 'not meet.' The first couplet 'still' and 'gaze long' write the long empty wait; the second 'the drum sound fades as I listen; the sail's shape nears the clouds' writes the boat's swift going by hearing lost and sight far—'nears' personifies the sail high into clouds, strange and alert wording; the third 'only birds remain,' 'people scattered' uses the empty pavilion's loneliness to set off the lone self; 'dropping leaves,' 'reeling line' secretly turns to dusk; the last 'how is it we part so far' states the missed-meeting regret—endless.

【白话串讲】阴铿赶到渡口送别朋友，船已经开了。“鼓声随听绝，帆势与云邻”——鼓声听不见了，帆影和云连在一起。“泊处空余鸟，离亭已散人”——没送成，只剩怅惘。【意象与手法】全诗紧扣不及二字展开。首联依然、长望写空候之久；颔联鼓声随听绝、帆势与云邻以听觉之绝、视觉之远写舟去之速，邻字以拟人写帆高入云，炼字奇警；颈联空余鸟、已散人以空亭寂寥衬孤身，下叶、收纶暗转暮色；尾联如何相背远直抒错失之憾，余味不尽。【情感与主旨】阴铿字子坚，武威人，梁陈间著名诗人，与何逊齐名，世称阴何，杜甫「颇学阴何苦用心」即指二人。此诗写诗人往江津为刘光禄送行，至则舟已发、不及相见，唯伫立江津目送，寄寓人生错失之慨。【名句点睛】中高考可设：一、炼字赏析，帆势与云邻中邻字之妙；二、结构分析，全诗如何围绕不及层层递进；三、体会鼓声随听绝、帆势与云邻以视听写舟去之速的手法。

Background

Yin Keng, styled Zijian of Wuwei, famous between Liang and Chen, with He Xun 'Yin and He.' Du Fu's 'painstaking heart' refers to them. This writes seeing off Minister Liu at Jiangjin; arriving, the boat had left—standing at the ferry watching. Southern-Dynasty social life dense yet partings sudden; 'seeing off but missing' a special farewell type, lodging life's missed-meeting lament.

阴铿（约511—约563），字子坚，武威人，梁陈间著名诗人，与何逊齐名，世称阴何，杜甫「颇学阴何苦用心」之句即指二人。此诗写诗人往江津为刘光禄送行，光禄即光禄大夫，为朝中显职，其人姓名已不可详考；诗人赶到江边渡口时，友人的船已经出发，不及相见，唯有伫立江津，目送帆影远去，遂作此诗。南朝士人社交繁密而聚散倏忽，仕宦游宦、出使征行皆须舟行，江津渡口遂成为送别的重要场所，送不及因而成为一种特殊的离别题材：欲送而不得，欲别而无从话别，错失的遗憾比寻常送别更深一层。诗中鼓声随听绝写船已远去，帆势与云邻写帆影将没，泊处空余鸟、离亭已散人写人去后之寂寥，皆紧扣不及二字生发。此诗寄寓的不仅是这一次错失，更是人生聚散无常、机缘易逝的普遍感慨，是南朝送别诗中的名篇。阴铿生于梁陈易代之际，历仕陈朝，其诗多写羁旅送别、江行舟次之景，精于炼字而风格清丽，此诗正是其送别题材中的代表作，可与何逊诸作并观。

Art

Tightens on 'not meet': first couplet 'still,' 'gaze long' write long empty wait; second by hearing lost and sight far writes boat's swift going—'nears' personifies the sail, strange alert wording; third 'only birds,' 'people scattered' sets off lone self by empty pavilion; 'dropping leaves,' 'reeling line' turns to dusk; last 'how part so far' states the regret—endless.

此诗艺术上最见功力处，是紧扣不及二字展开层层递进的章法。首联依然临江渚、长望倚河津以依然、长望写空候之久：依然见其久立不移，长望见其目送之远，开篇即定下不及的怅惘基调。颔联鼓声随听绝、帆势与云邻以听觉与视觉写舟去之速：鼓声是行船的信号，随听绝写鼓声渐远渐无，一个绝字写尽音讯中断的怅然；帆势与云邻写帆影高入云际、与云为邻，邻字以拟人化静为动，炼字奇警，为阴铿苦吟的典范。颈联泊处空余鸟、离亭已散人写舟去人散后的空寂，空余、已散两个虚字见出物是人非；林寒正下叶、钓晚欲收纶暗转暮色，落叶、收纶皆写日暮人归，反衬自己仍伫立江边，孤独之感愈深。尾联如何相背远、江汉与城闉直抒错失之憾，以江汉与城曲的空间阻隔收束，问而不答，余味不尽。全诗由候而望、由望而怅、由怅而问，层层递进，章法开唐人送别诗之先路。全诗以时间为经、以空间为纬，从日暮写到人散，从江畔写到城曲，层次分明而一气流转，正是律诗章法渐趋成熟的标志。

Allusions

No obscure allusion, yet 'farewell pavilion' is an ancient seeing-off place, since Han-Wei poems often say it, as Yu Xin's 'ten li five li, long pavilion short pavilion'; here 'the farewell pavilion, its people scattered' uses the long-pavilion seeing-off tradition. 'Jiang and Han,' 'city wall' write the barrier by geography; 'wall' means city curve, gate-tower—archaic wording, showing Yin's tempering.

本诗无明显僻典，而意象多承传统送别文化的积淀。离亭为古代送别之地，汉魏以来诗词多言之，庾信《哀江南赋》有「十里五里，长亭短亭」之语，后世遂以长亭短亭为饯别之代称，此处离亭已散人正用这一传统意象，写送别之人散尽、唯余空亭的寂寥。江汉指长江与汉水，城闉指城曲、瓮城，闉字古雅，本义为城曲重门，诗中以江汉与城闉对举，以地理空间写二人相隔之远，人已随舟入江汉，而自己仍留在城曲之间，一水之隔而相见无期，空间感与失落感交织。帆势与云邻之邻字，化静为动，以拟人写帆高入云，虽非用典，却暗合前人登高望远、目送归舟的意象传统。鼓声为行船号令之音，古乐府及南朝乐府写送别多及鼓声，此处随听绝三字写音讯之断，与帆影之远相映成趣。全诗用字古雅而取景寻常，典事不著痕迹而文化意蕴深厚，见出阴铿锤炼之功。林寒正下叶化用《楚辞·九歌》「袅袅兮秋风，洞庭波兮木叶下」的意象，以落叶写秋意、以秋意写离情，用典浑化无迹，楚骚之韵暗蕴其中。

Commentary

Tang's Du Fu 'rather learned Yin and He's painstaking heart' praises Yin's wording. Ming's Hu Yinglin: Yin's poetry 'graceful and formed'—this piece writing 'not meet' opens the Tang precedent, a Yin-He representative.

阴铿在诗歌史上的地位，主要由杜甫的推崇而确立。杜甫《解闷》诗云「颇学阴何苦用心」，把阴铿与何逊并提，作为自己锤炼字句的取法对象，可见其对阴诗炼字之工的推崇。明人胡应麟《诗薮》谓阴诗「格力华整」，准确概括了其精工整饬的风格。此篇送别写不及，以鼓声随听绝、帆势与云邻写舟去之速，炼字精严，为阴何代表作之一。从诗歌史看，南朝五言诗正处在由古体向近体过渡的关键阶段，阴铿的五言律化程度较高，此诗粘对渐稳、对仗工整，已具唐律气象，杜甫所谓苦用心即指此类，沈德潜《古诗源》亦选录此诗，可见其影响。此诗还开创了以送不及为题的送别范式：后世唐人写送别，多写目送孤帆、伫立凝望之境，如李白「孤帆远影碧空尽」，皆可溯至此诗。阴铿以一人之力，把南朝送别诗推向精工，为盛唐送别诗的繁荣作了铺垫。近人论南朝诗，多以阴何为永明体之后、唐律之前的关键人物，此诗正是其律化成就的标本，值得细读玩味。

Prosody

Form Five-character regulated verse (Chen poem)五言律诗（南朝陈诗，近体雏形）

Rhyme Ping-shui, zhen/wen mixed, first line no rhyme韵脚为『津』『邻』『人』『纶』『闉』，属平水韵上平十一真韵，首句入韵，一韵到底

Tone pattern tonal balance steadying, regulated雏形粘对渐稳，颔联颈联对仗工整，已具唐律气象，间有古体拗句，为近体律诗之雏形

Reading note Yin Keng's law precise; this piece already has Tang regulated air, Du Fu's 'painstaking heart' refers here此诗体制为五言律诗，作于南朝陈代，正值五言诗由古体向近体过渡的关键时期。全诗八句四十字，首句入韵，韵脚津邻人纶闉同属真韵，一韵到底，声韵和谐；颔联鼓声随听绝、帆势与云邻与颈联泊处空余鸟、离亭已散人皆对仗工整，粘对渐趋稳定，已具唐律气象，杜甫所谓「颇学阴何苦用心」，正指此类精严的律法。与唐代成熟的律诗相比，此诗尚存古体痕迹：如依然临江渚、如何相背远等句，句式与节奏仍近古体，平仄亦未完全合律，正可见近体律诗在形成过程中的真实面貌。阴铿以精工见长，此诗炼字、对仗、章法皆一丝不苟，为沈约永明体之后、唐代律诗定型之前的重要一环，开唐人送别律诗之先路，其声律成就对杜甫、王维等人的五律创作有直接影响。

Line by line

依然临江渚，长望倚河津

Still I stand by the river islet; I gaze long, leaning on the ferry.

依旧伫立在江边的洲渚之上，久久眺望，倚着渡口。

Still I stand by the river islet, gazing long, leaning on the ferry.

开篇两句写空候之久，是全文的情感起点。依然二字写出诗人来到江边时的情态：或许他来过，或许他等了很久，一切如旧，而友人已去；临江渚写其所立之地，渚为水中小洲，临字见出近水而立、目送远帆的姿势。长望倚河津写其望之久、倚之深：长望是久久眺望，倚字写身体倚着渡口，仿佛站立已久而需借力，把怅望的痴态写得具体可感。河津即渡口，正是送别与登舟之所，如今只剩诗人一人倚立。两句无一字写不及，而不及之意已弥漫其间：若及时赶到，何须依然、长望、倚立？时间在动词中悄然流逝，怅惘在姿势中自然流露，开篇即定下全诗不及的基调，笔法含蓄而有力。

The waiting. Still I stand by the river islet, gazing long, leaning on the ferry. The still-standing-by-islet and the long-gazing-leaning-on-ferry are the opening. To have stood by the islet would be a standing; the still-i-stand-by-the-river-islet-gazing-long-leaning-on-the-ferry is the standing.

鼓声随听绝，帆势与云邻

The drum sound fades as I listen; the sail's shape nears the clouds.

船上的鼓声随着听闻渐渐断绝，帆影仿佛与云为邻。

The drumbeats fade as I listen; the sail draws level with the clouds.

此句以听觉与视觉的对照写舟去之速，是炼字典范。鼓声是行船的号令，古代开船击鼓，鼓声渐远，说明船已远去，随听绝三字写出诗人侧耳倾听、鼓声由近而远直至消失的过程，一个绝字写尽音讯中断的怅然，仿佛连最后的联系也被切断。帆势与云邻则写目之所见：船帆越走越高，远与云际相接，仿佛帆与云成了邻居，邻字以拟人写帆高入云，化远为近、化静为动，奇警而不失自然。一绝一邻，一听一视，听觉上的断绝与视觉上的临近形成奇妙对照：声音消失了，帆影却仿佛近在云边，正写出目送者既盼其近又知其远的矛盾心境。两句写舟去之速，不见一个速字，而速度全出，正是阴铿苦吟的妙处。

The sail. The drumbeats fade as I listen; the sail draws level with the clouds. The drumbeats-fade-as-listened and the sail-draws-level-with-clouds are the speed. To have faded would be a fading; the the-drumbeats-fade-as-i-listen-the-sail-draws-level-with-the-clouds is the fading.

泊处空余鸟，离亭已散人

At the mooring only birds remain; the farewell pavilion, its people scattered.

停泊之处空余飞鸟，离亭之中人已散尽。

Where he moored, only birds remain; the farewell pavilion has emptied of people.

此句由写舟转写人去之后的环境，以空寂之景衬孤身之寂。泊处是友人停泊过的地方，如今只余飞鸟栖息，空余二字见出物在人去；离亭是饯别之所，送行之人早已散尽，已散二字见出热闹已成过去。鸟与人、空与散两两相对，以鸟之仍在反衬人之已去，以亭之犹在反衬人之已散，写尽人去楼空的寥落。此句妙在无一字写情，而怅惘自见：诗人独自站在江边，泊处空、离亭散，天地间仿佛只剩下他一人，孤独感在景物的空寂中自然弥漫。空、已两个虚字用得极准，虚字不虚，正是南朝诗人炼字的长处，为尾联直抒错失之憾蓄足情绪，也使全诗由写景自然过渡到抒情。

The empty pavilion. Where he moored, only birds remain; the farewell pavilion has emptied of people. The moored-place-only-birds and the farewell-pavilion-emptied are the emptiness. To have emptied of people would be an emptying; the where-he-moored-only-birds-remain-the-farewell-pavilion-has-emptied-of-people is the emptying.

如何相背远，江汉与城闉

How is it we part so far—the Jiang and Han from the city wall?

为何你我背道而驰相隔日远，江汉与城曲竟如此遥远。

Why have we drifted so far apart—the river and the city gate?

尾联直抒错失之憾，以空间的阻隔收束全诗。如何二字是强烈的质问语气，相背远写二人背道而驰、越离越远，既有地理上的背离，也有人生际遇的错失；江汉与城闉则具体写这种背离：友人已乘舟入江汉，自己仍留在城曲之间，一水之隔而相见无期。闉指城曲、瓮城，用字古雅，与江汉对举，一水一城、一远一近，写出空间阻隔的实感。诗人明知相背而问如何，是明知故问，问的其实是人生的无奈：若能赶得及，何至于此？此句问而不答，把错失的遗憾留给读者品味，余味不尽。全诗由依然长望的候，到鼓绝帆邻的望，到空鸟散人的怅，至此一问收束，章法完整，情感深沉，是南朝送别诗中难得的佳作。

The question. Why have we drifted so far apart—the river and the city gate? The why-drifted-apart and the river-and-city-gate are the close. To have drifted apart would be a drifting; the why-have-we-drifted-so-far-apart-the-river-and-the-city-gate is the drifting.

Study

Word focus

邻 In 'the sail's shape nears the clouds,' 'nears' personifies the sail high into the clouds, turning the far scene into a close intimacy—strange alert wording, fully Yin's painstaking temper. 帆势与云邻之邻字，是全诗最著名的炼字。邻本为邻居之义，此处用作动词，写船帆高耸，仿佛与云为邻，以拟人手法把帆与云的关系写得亲切而富有动态。用邻而不用接、齐、近，妙在化远为近：帆本已远去，即将没入天际，诗人却说它与云为邻，仿佛帆并未远离，只是升入了云的居处，目送者的不舍之情便在这亲切的措辞中自然流露。同时，邻字又暗含人与物、此与彼的对应：帆与云为邻，而诗人与友人却相隔日远，物之相亲反衬人之相背，惆怅更深一层。此字平字见奇，浅字见深，是阴铿苦吟的典范，后世论者多举此字为南朝炼字的代表，杜甫「颇学阴何苦用心」，此字正是其取法的对象。

空 A key expression in the poem. Read it as an image, mood, or grammar point in context. 泊处空余鸟之空字，写人去之后泊处的寂寥，是颈联的情感枢纽。空余即只余、徒有，鸟犹在而人已去，空字见出物在人非的怅惘：停泊之处本是友人泊舟之地，如今舟去人空，唯余飞鸟起落，仿佛连鸟也在替诗人守望。此字与下句已字相对，空写空间之虚，已写时间之逝，一虚一逝，把舟去人散的寥落写得入骨。若不用空字而作犹字、尚字，则只是客观写景，失却情感色彩；惟空字既写实景，又传心境，见出诗人面对空泊的失落。南朝诗人最擅炼虚字，阴铿此字，虚字实写，以景之寂反衬心之怅，与尾联的直抒相呼应，是全诗由写景转入抒情的关键，也是炼字精严的又一例证。

已 A key expression in the poem. Read it as an image, mood, or grammar point in context. 离亭已散人之已字，写送行之人散尽的时间状态，与上句空字构成精严的对仗。已作已经解，写散人之事已成过去：饯别的热闹、执手的叮咛，都已随舟而去，唯余空亭。此字的妙处在于以时间的确定写情感的失落：散人是必然的，而已字却把散后的寂寥凝固下来，仿佛诗人还站在散尽之后的离亭前，怅然若失。与空字对读，空写空间无物，已写时间无痕，一空一已，正是虚字炼成的对仗，把人去亭空的双重寥落写得浑然一体。南朝五言诗讲究对仗精工，阴铿此联，不惟字面相对，更以虚字传情，为唐代律诗炼字提供了范式。杜甫学阴何之用心，此等虚字正是其用力之处。