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宋 Song · 诗 Poem

南浦

Nanpu

王安石

Wang Anshi

写景Scenery 春景Spring Scene

南浦东冈二月时，物华撩我有新诗。
含风鸭绿粼粼起，弄日鹅黄袅袅垂。

At Nanpu and the eastern hill in the second month, the beauty of things stirs me to a new poem.
Held by the wind, duck-green ripples rise in shimmering waves; playing with the sun, goose-yellow willows droop and sway.

Listen

Meaning

In the second month at Nanpu and the eastern hill, the spring's beauty moves the poet to verse. Wind holds duck-green ripples aloft; sunlight plays with goose-yellow willows that droop and sway. A small, color-brilliant scene of early spring, written in Wang Anshi's precise 'Banshan' manner.

南浦东冈二月时，物华撩我有新诗。含风鸭绿粼粼起，弄日鹅黄袅袅垂。

Appreciation

[Plain Paraphrase] At Nanpu and the east hill in the second month, things' beauty stirs a new poem; wind-held duck-green ripples rise; sun-played goose-yellow willows droop. [Structure] First couplet the time, place, and stirred heart; second couplet the water and the willows in color. [Imagery] 'Duck-green' and 'goose-yellow' set two bright hues against each other - water and willow, green and yellow; 'ripples rise' and 'droop and sway' give motion, so the still scene breathes. Note: 'Nanpu' was classically a parting place, here reused for pure spring.

【白话串讲】王安石写《南浦》：“南浦东冈二月时，物华撩我有新诗”——“含风鸭绿粼粼起，弄日鹅黄袅袅垂”——春水泛着鸭绿，柳条垂着鹅黄——他写二月的春色。【意象与手法】此诗写春景，以春日写春景，是王安石的名篇。前二句写春景：「南浦东冈二月时，物华撩我有新诗」写南浦东冈二月时、物华撩我有新诗——写尽春日的物华；后二句写水柳：「含风鸭绿粼粼起，弄日鹅黄袅袅垂」写含风鸭绿粼粼起、弄日鹅黄袅袅垂——写尽春水的柳色。全诗以春日写春景，写尽春日的物华与春水的柳色，是王安石的代表作。【情感与主旨】此诗写春景，以春日写春景，是王安石的名篇。此诗写南浦二月时节的春景。南浦在江宁（今南京）。此诗写春景：南浦东冈二月时，物华撩我有新诗——写南浦东冈二月时、物华撩我有新诗，写尽春日的物华；含风鸭绿粼粼起，弄日鹅黄袅袅垂——写含风鸭绿粼粼起、弄日鹅黄袅袅垂，写尽春水的柳色。全诗以春日写春景——那「物华撩我有新诗」写尽春日的物华，「弄日鹅黄袅袅垂」写尽春水的柳色，写尽春日的物华与春水的柳色，是理解王安石写景诗的重要篇章。【名句点睛】常考「南浦东冈二月时，物华撩我有新诗」写春日的物华；「含风鸭绿粼粼起，弄日鹅黄袅袅垂」写春水的柳色；以及全诗以春日写春景、以色写春景的手法。

Background

Wang Anshi (1021-1086), courtesy name Jiefu, style Banshan, of Linchuan (Jiangxi), was a Northern Song statesman and one of the Eight Prose Masters. In later life, retired at Jiangning (Nanjing), he wrote small, polished landscape poems; Nanpu lay by the Qinhuai. Free of court strife, he met the February water and willows and his poem-sea rose. Written in the Yuanyou era of his old age, this is a 'Banshan-style' small lyric, known for fine craft and bright color.

此诗写春景，以春日写春景，是王安石的名篇。王安石（1021—1086），字介甫，号半山，临川（今属江西）人，北宋政治家、文学家，唐宋八大家之一。晚年退居江宁（今南京），自号半山，多写闲适的山水小诗。南浦在江宁。此诗写南浦二月时节的春景。此诗写春景：「南浦东冈二月时，物华撩我有新诗」写南浦东冈二月时、物华撩我有新诗——写尽春日的物华（南浦东冈二月时，物华撩我有新诗）；「含风鸭绿粼粼起，弄日鹅黄袅袅垂」写含风鸭绿粼粼起、弄日鹅黄袅袅垂——写尽春水的柳色（含风鸭绿粼粼起，弄日鹅黄袅袅垂）。全诗以春日写春景，写尽春日的物华与春水的柳色，是理解王安石写景诗的重要篇章。王安石晚年罢相退居江宁，居钟山半山园，常往来于秦淮河畔，南浦即其游赏之地。此时诗人已脱离政争，心境闲适，故见二月春水、柳色而诗兴勃发。此诗写于宋哲宗元祐年间，正当诗人晚年，其「半山体」小诗以清丽工巧见长，此诗正是其中的代表作。

Art

The art has four moves. First, time-place for spring: 'Nanpu, east hill, second month' sets the early season. Second, personified beauty: 'the beauty of things stirs me to a new poem' makes scene active. Third, color for water: 'duck-green ripples rise' names the water's hue. Fourth, shape for willow: 'goose-yellow droops and sways' gives the willow's color and form. Front the stirred heart, back the water-willow - feeling into scene, the 'scene breeds feeling' form. Fine craft: 'duck-green' vs 'goose-yellow' set green against yellow, bright and alive; 'ripples rise' and 'droop and sway' move the picture, showing his keen eye for small things.

此诗的艺术特色可从四个方面解析。其一，以时地写春景。「南浦东冈二月时」以时地写春景——那「二月时」写尽时令，以时地写尽春日的早春。其二，以拟人写物华。「物华撩我有新诗」以拟人写物华——那「撩我」写尽物华的撩人，以拟人写尽春日的物华。其三，以色写春水。「含风鸭绿粼粼起」以色写春水——那「鸭绿」写尽水色，以色写尽春水的绿。其四，以形写柳色。「弄日鹅黄袅袅垂」以形写柳色——那「鹅黄」「袅袅垂」写尽柳色柳态，以形写尽春柳的娇柔。此外，此诗前二句写春日的物华，后二句写春水的柳色，由感及景，正是写景诗「即景生情」的写法。四重手法，使此诗以春日写春景，写尽春日的物华与春水的柳色，是王安石的代表作。此诗还善于以色相映——「鸭绿」与「鹅黄」二色相映成趣，一写水、一写柳，绿黄相对，色彩明丽，正见春日的生机。又善以动写静，那「粼粼起」「袅袅垂」写水波柳条的动态，使画面充满生意，正见王安石对细小景物的敏锐观察。

Allusions

The language rests on spring and scenery. 'East hill' echoes Tao Yuanming's 'climb the east height and whistle'; 'beauty of things' Wang Bo's 'things excellent, heaven's treasure'; 'duck-green' Bai Juyi's 'spring river green as blue'; 'goose-yellow' Bai Juyi's 'tenderer than gold, softer than silk'; 'droop and sway' Chu Ci's 'sway, sway the autumn wind.' 'Nanpu' classically meant a parting place (Qu Yuan, Jiang Yan), later a farewell name; the poet titles with it yet writes pure spring - turning an old topic to new use, and showing his idle late-life heart.

此诗的用语深植于春日与写景的传统。「东冈」令人想到「东冈」写山冈的意象——陶渊明《归去来兮辞》「登东皋以舒啸」，也令人想到「东皋」的意象；「物华」令人想到「物华」写景物精华的意象——王勃《滕王阁序》「物华天宝」，也令人想到「物华撩我」的意象；「鸭绿」令人想到「鸭绿」写春水之绿的意象——「含风鸭绿粼粼起」正是王安石的名句，也令人想到「春来江水绿如蓝」（白居易）的意象；「鹅黄」令人想到「鹅黄」写嫩柳之色的意象——「弄日鹅黄袅袅垂」正是王安石的名句，也令人想到「嫩于金色软于丝」（白居易）的意象；「袅袅」令人想到「袅袅」写柔垂的意象——《楚辞·九歌》「袅袅兮秋风」，也令人想到「袅袅垂杨」的意象。全诗化用东冈、鸭绿、鹅黄、袅袅的意象，以春日写春景，正是王安石「半山体」而善炼字、承写景传统写春景的本领。「南浦」在中国古典文学中原指送别之地，屈原《九歌·河伯》「送美人兮南浦」，江淹《别赋》「送君南浦，伤如之何」，后遂以「南浦」为送别之代称。此诗以「南浦」为题而写春景，全无送别之意，正见诗人化旧题为新意的本领，也见其晚年闲适心境。

Commentary

Long a Wang Anshi scenery classic and a 'Banshan-style' small-lyric model, it drew the Qing note 'spring scene, fine and lasting,' and modern praise for the duck-green / goose-yellow line. Its worth is four lines holding the place, the stirred heart, the green water, the yellow willow - the ripples, the sway. Set beside his 'Moored at Guazhou' ('spring wind greens the south bank again') and Bai Juyi's spring-bank line, it shows Song spring craft. For today it opens his scenery poetry and the classic of spring water-willow - the duck-green ripples still speak.

此诗历来被推为王安石写景诗的名篇，也是「半山体」小诗的代表。历代论者对此诗评价极高：清人评此诗「以春日写春景，工丽隽永」；近人更指出「含风鸭绿粼粼起，弄日鹅黄袅袅垂」写春水的柳色，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以四句的绝句写尽春日的物华与春水的柳色——那南浦，那东冈，那二月，那物华，那新诗，那鸭绿，那粼粼，那鹅黄，那袅袅，都写尽了王安石笔下的南浦；那「弄日鹅黄袅袅垂」更以形写尽春柳的娇柔。此诗与王安石《泊船瓜洲》（「春风又绿江南岸」）同为写景名篇，一写「明月何时照我还」的瓜洲（泊船瓜洲），一写「弄日鹅黄袅袅垂」的南浦（南浦）；又与白居易「绿杨阴里白沙堤」的春景传统一脉相承，可见宋人写春景的工丽。对于今日读者，此诗是理解王安石写景诗的窗口，也是中国诗写春景的经典——那粼粼的鸭绿，穿越千年，仍在诉说着春水的柳色。

Prosody

Form Poem - seven-character quatrain (qijue)诗·七言绝句

Rhyme Seven-character quatrain, rhyming shi/shi/chui (upper level, Zhi category), one rhyme throughout, fine in sound.七绝，押「时」「诗」「垂」韵（上平四支），一韵到底，音节工丽

Tone pattern A seven-character quatrain, level-tone rhyme throughout, fine and graceful, fitting the crafted spring.此诗为七言绝句，押平声韵，一韵到底，音节工丽，正合春景的工丽。

Reading note A seven-character quatrain, four lines: 'Nanpu, east hill, second month; beauty stirs a poem. Wind-held duck-green; sun-played goose-yellow droops,' rhyming Zhi (shi/shi/chui) throughout, fine in sound. Front the stirred heart, back the water-willow, the 'goose-yellow droops' line ending on the willow's grace - Wang Anshi's 'Banshan' craft. Read the scene fine, the willow light with an echo - his scenery quatrain model.此诗为七言绝句，四句——「南浦东冈二月时，物华撩我有新诗。含风鸭绿粼粼起，弄日鹅黄袅袅垂」，押「支」韵（时、诗、垂），一韵到底，音节工丽。全诗以春日写春景：前二句写春日的物华（南浦东冈二月时、物华撩我有新诗），后二句写春水的柳色（含风鸭绿粼粼起、弄日鹅黄袅袅垂）。四句短章，前写物华，后写水柳，以「弄日鹅黄袅袅垂」写尽春柳的娇柔，正见王安石「半山体」工丽的特色。诵读此诗，宜以工丽的语调读「南浦东冈二月时」的春景，以轻快的语调读「弄日鹅黄袅袅垂」的柳色，结句要读得轻圆而有余韵，方能传达出王安石的工丽隽永。王安石绝句以「半山体」著称，此诗正是其写景绝句的典范。

Line by line

含风鸭绿粼粼起，弄日鹅黄袅袅垂

Held by the wind, duck-green ripples rise in shimmering waves; playing with the sun, goose-yellow willows droop and sway.

含风鸭绿粼粼起，弄日鹅黄袅袅垂。

Wind-bearing duck-green ripples rise; sun-playing goose-yellow sprigs droop gracefully.

此二句是全诗写水柳的核心，以含风鸭绿写水，以弄日鹅黄写柳，写尽春水的柳色，是千古名句。「含风鸭绿粼粼起」写含风鸭绿粼粼起——那「含风鸭绿」写含风鸭绿，「粼粼起」写粼粼起，写尽春水的绿波；「弄日鹅黄袅袅垂」写弄日鹅黄袅袅垂——那「弄日鹅黄」写弄日鹅黄，「袅袅垂」写袅袅垂，写尽春柳的娇柔。这句的深意在于：它以「含风鸭绿粼粼起」的水与「弄日鹅黄袅袅垂」的柳，写尽春水的柳色——含风鸭绿粼粼起，那「含风鸭绿粼粼起」写尽春水的绿波——春水含风，绿波粼粼，正是春水的写照，那「鸭绿」写尽春水的碧色；弄日鹅黄袅袅垂，那「弄日鹅黄袅袅垂」写尽春柳的娇柔——柳条弄日，鹅黄袅垂，正是春柳的写照，那「鹅黄」写尽春柳的嫩色；那「含风鸭绿粼粼起」写尽春水的绿波，那「弄日鹅黄袅袅垂」写尽春柳的娇柔，一写水，一写柳，写尽春水的柳色——水绿柳黄，正是春日的写照；此二句以水、柳写尽春水的柳色，也让此二句成为全诗写水柳的核心与千古名句。若换作直说「水很绿柳条很嫩」，则失其色彩；唯以「含风鸭绿粼粼起」写水、「弄日鹅黄袅袅垂」写柳，写尽春水的柳色，也让此二句成为全诗写水柳的核心。

The willows. Wind-bearing duck-green ripples rise; sun-playing goose-yellow sprigs droop gracefully. The wind-bearing-ripples-rise and the sun-playing-sprigs-droop are the colors. To have risen would be a rising; the wind-bearing-duck-green-ripples-rise-sun-playing-goose-yellow-sprigs-droop-gracefully is the rising.

南浦东冈二月时，物华撩我有新诗

At Nanpu and the eastern hill in the second month, the beauty of things stirs me to a new poem.

南浦东冈二月时，物华撩我有新诗。

At Nanpu and East Hill, in the second month, the splendor of things stirs me to new verse.

此二句是全诗写物华的核心，以南浦东冈二月时写时地，以物华撩我有新诗写物华，写尽春日的物华，是千古名句。「南浦东冈二月时」写南浦东冈二月时——那「南浦东冈」写南浦东冈，「二月时」写二月时，写尽春日的时地；「物华撩我有新诗」写物华撩我有新诗——那「物华」写物华，「撩我有新诗」写撩我有新诗，写尽物华的撩人。这句的深意在于：它以「南浦东冈二月时」的时地与「物华撩我有新诗」的物华，写尽春日的物华——南浦东冈二月时，那「南浦东冈二月时」写尽春日的时地——南浦东冈，正是早春二月，那「二月时」写尽春日的早春；物华撩我有新诗，那「物华撩我有新诗」写尽物华的撩人——物华撩我，正是景物动情的写照，那「撩我」写尽物华的撩人；那「南浦东冈二月时」写尽春日的时地，那「物华撩我有新诗」写尽物华的撩人，一写时地，一写物华，写尽春日的物华——早春二月而物华撩人，正是诗兴的由来；此二句以时地、物华写尽春日的物华，也为后二句的水柳作铺垫，也让此二句成为全诗写物华的核心与千古名句。若换作直说「春天来了我想写诗」，则失其情致；唯以「南浦东冈二月时」写时地、「物华撩我有新诗」写物华，写尽春日的物华，也让此二句成为全诗写物华的核心。

The verse. At Nanpu and East Hill, in the second month, the splendor of things stirs me to new verse. The Nanpu-East-Hill-second-month and the splendor-stirs-new-verse are the opening. To have stirred me to verse would be a stirring; the at-nanpu-and-east-hill-in-the-second-month-the-splendor-of-things-stirs-me-to-new-verse is the stirring.

Study

Word focus

鸭绿 Duck-green - the color of a duck's head, here the bright green of spring water. In 'wind-held duck-green ripples rise,' it names the water's hue and liveliness, set against 'goose-yellow' for a brilliant green-yellow contrast. 「含风鸭绿粼粼起」之「鸭绿」是写春水的关键词，一个「鸭绿」写尽春水的碧色。鸭绿者，如鸭头之绿也。王安石以「含风鸭绿粼粼起」写春水，这个「鸭绿」至少有双重意味：其一，写水色之绿——那「含风鸭绿粼粼起」写含风鸭绿粼粼起，那「鸭绿」写尽春水的碧色——鸭头之绿，正是春水的颜色，那「鸭绿」写尽春水的碧绿；其二，写春水之活——那「鸭绿」更是写活——粼粼起，正见春水之活，那「鸭绿」写尽春水的生机。以「鸭绿」写春水，正是王安石写景的枢纽——若换作「碧绿」「翠绿」等词，则或失其与「粼粼起」的配合，或失其写鸭绿的意味；唯「鸭绿」二字，以含风鸭绿粼粼起写尽春水的碧色与生机，与「弄日鹅黄袅袅垂」的鹅黄相合，写尽春水的柳色，也让「含风鸭绿粼粼起」成为全诗写春水的名句。

撩 Stir / tease. In 'the beauty of things stirs me to a new poem,' 'liao' personifies spring as actively provoking verse, voicing both the scene's lure and the poet's sudden inspiration, answering the 'second month' time. 「物华撩我有新诗」之「撩」字是写物华的关键词，一个「撩」字写尽物华的撩人。撩者，招惹、撩拨也。王安石以「物华撩我有新诗」写物华，这个「撩」字至少有双重意味：其一，写物华之诱——那「物华撩我有新诗」写物华撩我有新诗，那「撩」字写尽物华的诱人——物华撩我，正是景物动人的写照，那「撩」字写尽物华的撩人；其二，写诗兴之生——那「撩」字更是写生——撩我，正见诗兴之生，那「撩」字写尽诗兴的激发。以「撩」字写物华，正是王安石写景的枢纽——若换作「引」「动」等字，则或失其与「物华」「新诗」的配合，或失其写撩的意味；唯「撩」字，以物华撩我有新诗写尽物华的诱人与诗兴的激发，与「南浦东冈二月时」的二月相合，写尽春日的物华，也让「物华撩我有新诗」成为全诗写物华的名句。

南浦