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清 Qing · 诗 Poem

山居杂咏

Miscellaneous Songs of Mountain Dwelling

黄宗羲

Huang Zongxi

隐逸reclusion 感怀reflection

山居杂咏锋镝牢囚取次过，依然不废我弦歌。
死犹未肯输心去，贫亦其能奈我何！
廿两棉花装破被，三根松木煮空锅。
一冬也是堂堂地，岂信人间胜着多。

Sword-blades and prison-bonds, one by one I passed them through;
Yet still my stringed songs and verse I will not cease.
Not e'en in death will I surrender my heart and go;
What can this poverty do to me?
Twenty taels of cotton stuff my broken quilt;
Three pine logs boil my empty pot.
This whole lone winter too I pass in open honour—
How should I believe the world knows a better move?

Listen

Meaning

The perils of blades and the bonds of prison I have passed through one by one with composure; still nothing could make me cease my chanting and stringed song. Even in death I would never surrender my inmost heart, and what can poverty do to me? Twenty taels of cotton are sewn into a ragged quilt; three pine logs prop up an empty pot. This whole winter too I have lived in honest dignity—how could I believe the world holds any cleverer way to live?

刀箭之险、牢狱之囚，我都一一从容度过，依旧不能使我停止吟咏弦歌。即便身死也绝不肯交出本心，贫穷又怎能奈何得了我！廿两棉花缝成破被，三根松木支起空锅。这一整个冬天也过得堂堂正正，哪里会相信人世间还有什么更高明的活法。

Appreciation

This set of poems enters through argument yet never turns dry. The opening couplet narrates and shows the poet's bone; the second couplet, with 'not even in death' and 'what can poverty', forms a flowing antithesis whose momentum is decisive. The third couplet, 'twenty taels of cotton' and 'three pine logs', sketches poverty in plain white description, exact in number yet wry. The closing 'in open honour' lifts the whole, turning want into something upright and proud. Hardy and plain, with no note of complaint, it shows the loyalist's proud bone amid poverty, standing alone among early-Qing verse—truly splendour within the sour and bitter.

【白话串讲】黄宗羲抗清失败，隐居山林：“锋镝牢囚取次过，依然不废我弦歌”——刀剑牢狱都经历过了，依然不放下我的琴和歌。“死犹未肯输心去，贫亦其能奈我何”——这是亡国之士的骨头。【意象与手法】全诗以议论入诗而毫不枯淡，首联叙事见骨，颔联「死犹」「贫亦」为流水对，语势斩截；颈联以「廿两棉花」「三根松木」白描贫状，数字精确而诙谐；尾联「堂堂地」三字振起全篇，将穷愁写得理直气壮。刚健质朴，无怨怼之音，于贫窘中见遗民傲骨【情感与主旨】黄宗羲（1610—1695），明清之际思想家。明亡后拥鲁王抗清，兵败隐居著述，终身不仕清廷。此诗当作于隐居山居、生活困窘之时，以「锋镝牢囚」回忆抗清罹难之险，以「弦歌」「不输心」表白守节之志。全诗将易代之际遗民的血泪与傲骨凝于寻常日用，是其遗民诗的代表作之一【名句点睛】中高考命题常取：①赏析「死犹未肯输心去，贫亦其能奈我何」的句式（流水对）与气节；②「廿两棉花装破被，三根松木煮空锅」以数字白描贫状的手法；③「一冬也是堂堂地」以穷为荣、理直气壮的遗民傲骨

Background

Huang Zongxi (1610-1695) was a thinker of the Ming-Qing transition. After the Ming fell he backed the Prince of Lu against the Qing; defeated, he withdrew to a mountain dwelling to write, and never served the Qing court to the end of his days. This poem was likely written in his reclusive mountain years, when life was hard; 'blades and prison-bonds' recalls the danger of resisting the Qing, while 'stringed song' and 'never surrender my heart' avow his vow to keep his integrity. The whole poem condenses a loyalist's blood and tears and his proud bone into ordinary daily use—a representative piece of his loyalist verse, and a glimpse of the poet's breast behind his statecraft learning.

黄宗羲（1610—1695），字太冲，号南雷，又号梨洲，浙江余姚人，明清之际思想家、史学家、文学家，与顾炎武、王夫之并称「明末清初三大思想家」。明末崇祯年间，其父黄尊素为阉党所害，黄宗羲入京讼冤，锥刺仇人，名动一时；明亡后，他毁家纾难，募兵拥立鲁王抗清，兵败后隐居著述，终身不仕清廷，康熙朝征博学鸿儒、举遗逸皆不就。此诗当作于其隐居山野、生活困窘之时，以「锋镝牢囚」回忆抗清罹难之险，以「弦歌」「不输心」表白守节之志，以「廿两棉花」「三根松木」写隐居贫状。全诗将易代之际遗民的血泪与傲骨凝于寻常日用，是其遗民诗的代表作之一，也是理解黄宗羲「经世之学」之外的诗人胸次、以及明清易代之际遗民气节的重要作品。此诗与《山居杂咏》组诗其他诸首合观，可见黄宗羲山居生活的全貌，是研究清初遗民生活史与心态史的重要诗歌材料。其「以诗存史」的意义，正于此可见。

Art

This poem enters through argument yet never turns dry. The opening couplet narrates and shows the poet's bone; the second couplet, with 'not even in death' and 'what can poverty', forms a flowing antithesis whose momentum is decisive. The third couplet, 'twenty taels of cotton' and 'three pine logs', sketches poverty in plain white description, exact in number yet wry. The closing 'in open honour' lifts the whole, turning want into something upright and proud. Hardy and plain, with no note of complaint, it shows the loyalist's proud bone amid poverty—unique among early-Qing verse, worthy of being called splendour within the sour and bitter.

全诗以议论入诗而毫不枯淡，刚健质朴，无怨怼之音，于贫窘中见遗民傲骨。首联「锋镝牢囚取次过，依然不废我弦歌」叙事见骨：刀箭牢狱之险一一从容度过，「取次」写其从容，而「依然不废」写其坚守——历经险厄而不废弦歌，风骨自见。颔联「死犹未肯输心去，贫亦其能奈我何」为流水对，语势斩截：「死犹未肯」写死且不屈，「贫亦其能」写贫莫奈我，一死一贫，层层递进，将守志之坚写到极致。颈联「廿两棉花装破被，三根松木煮空锅」以白描写贫状：廿两棉花、三根松木，数字精确而诙谐，破被空锅，贫状如在目前。尾联「一冬也是堂堂地，岂信人间胜着多」以「堂堂地」三字振起全篇，将穷愁写得理直气壮。全诗先叙后议、由忆及写，刚健质朴，于酸楚中见堂皇，是清初遗民诗的代表作。全诗八句，一气流注，由忆险而明志而写贫而振气，层层推进，骨力开张，正是「磊落不为协律」而自饶气韵的体现。

Allusions

The poem uses no obscure allusion. 'Stringed song' comes from The Analects: 'When the Master entered Wucheng, he heard the sound of stringed songs'—later meaning the joy of study and the transforming power of ritual and music; here it means that though in distress he will not quit his books, quietly borrowing the sage's stringed song and stating it flatly, leaving no trace—exactly his nature of writing great integrity in common speech. 'Surrender the heart' means to give one's heart and yield, a phrase the poet forged himself, weighty as a thousand pounds, showing his vow to guard his person like jade.

此诗无明显用典，而「弦歌」二字暗含故实，见其以常语写大节的本色。「弦歌」出《论语·阳货》：孔子弟子子游为武城宰，以礼乐教化治民，孔子过之，「闻弦歌之声」，莞尔而笑曰「割鸡焉用牛刀」——弦歌本指弦乐歌咏，后泛指读书吟咏、礼乐教化；此处「不废我弦歌」暗用圣人弦歌之意：虽处锋镝牢囚、贫窘困顿之中，仍不废读书吟咏、礼乐自娱，正是孔颜乐处、圣贤气象，以寻常语道出而不着痕迹。「输心」谓交出本心、屈节降志，为诗人自铸之语，重若千钧：「未肯输心去」写死且不屈其心，见其守身如玉之志。「锋镝」本指刀箭，泛指兵器战乱，「牢囚」为牢狱之囚，皆实写抗清罹难之经历。全诗不假典实而以常语写真节，正见遗民诗「以血泪写风骨」的本色，也体现黄宗羲经世之学与诗人胸次合一的特点。以常语写大节、以日用写气节，正是遗民诗区别于一般隐逸诗的独到之处，亦见黄宗羲「经世」之学的诗化表达。

Commentary

Quan Zuwang said of Lizhou's poetry that it is 'forthright, not bound to the rules'; a modern critic said of his mountain-dwelling works that 'he writes bone through poverty, plain in word yet open in strength'. This poem, unadorned, shows upright honour amid want, worthy to be a model of loyalist poetry; with Gu Yanwu and Wang Fuzhi he stands as one of the three great loyalist poets of early Qing, also a mirror for men of letters in keeping themselves and their vows through a change of dynasties.

全祖望《梨洲先生神道碑文》谓黄宗羲诗「磊落不为协律」，正点出其诗以气胜、不事雕琢的特点；近人评其山居诸作「以穷愁写风骨，语似平淡而骨力开张」，此诗即其代表。此诗不假雕饰，于贫窘中见堂堂正气：历经锋镝牢囚而不改其志，身当贫窭空锅而不失其度，一冬堂堂，视人间富贵如无物——足为遗民诗之范式，与顾炎武「天下兴亡，匹夫有责」的担当、王夫之「六经责我开生面」的著述并峙，并称清初三大遗民思想家，其诗亦同其学，皆以气节骨力胜。此诗在文学史上的意义，在于将易代之际遗民的血泪与傲骨凝于寻常日用：不写悲愤之状，而写弦歌之乐；不写困窘之叹，而写堂堂之气——以贫为荣、以守为乐，正是遗民精神最昂扬的表达，也是理解明清之际士人气节的重要文本。此诗于今日仍有现实意义：身处困厄而守志不渝的精神，是超越时代的宝贵遗产。

Prosody

Form Seven-character regulated poem (seven-character lü)七言律诗

Rhyme Ping-shui rhyme, lower-level five ge group (passed, song, me, pot, move)平水韵·下平五歌（过、歌、何、锅、多），首句入韵

Tone pattern First line enters rhyme, oblique-onset first-line-enters-rhyme首句入韵，仄起首句入韵式，中二联对仗

Reading note Middle two couplets antithetical, the second a flowing antithesis showing the breath best此诗为七言律诗，八句四联，押平水韵下平五歌韵（过、歌、何、锅、多），首句入韵，一韵到底；歌韵开阔洪亮，与全诗堂堂正正之气相称。格律为仄起首句入韵式，平仄谐和；中二联对仗：颔联「死犹未肯输心去，贫亦其能奈我何」为流水对——上句写死且不屈，下句写贫莫奈我，一气贯注、语势斩截，虽对仗而如流水，正是律诗对仗中「流水对」的典范；颈联「廿两棉花装破被，三根松木煮空锅」以「廿两棉花」对「三根松木」、「装破被」对「煮空锅」，数字对数字、白描对白描，工整而诙谐。章法上，首联叙事（历险守志），颔联言志（死贫不屈），颈联写实（破被空锅），尾联振起（堂堂一冬），由叙而言、由言而实、由实而振，层折入深，尾联「堂堂地」「岂信」将全诗推向高潮。全诗以议论入诗而毫不枯淡，刚健质朴，是清初遗民诗的代表作，也体现了黄宗羲「磊落不为协律」的诗风。

Line by line

锋镝牢囚取次过，依然不废我弦歌

Sword-blades and prison-bonds, one by one I passed them through; still unceasing, my stringed song and verse.

刀箭之险、牢狱之囚，我都一一从容度过，依旧不能使我停止吟咏弦歌

Spear-point and arrow-head, prison and chains, I have passed them all in turn; still my zither and songs are not silenced.

首联叙事见骨，是全诗风骨的总纲。「锋镝牢囚取次过」写经历之险：「锋镝」为刀箭，泛指兵戈之险，「牢囚」为牢狱之囚，写缧绁之厄——诗人抗清罹难，几经兵锋、几陷牢狱，「取次过」三字写其一一从容度过：「取次」本为依次、随便之意，此处写险厄之来，如平常事，一一经历、一一度过，见其镇定从容、视死如归；「依然不废我弦歌」写其坚守：「依然」写历经险厄而初心不改，「不废」写弦歌之乐不曾废止，「弦歌」用《论语》子游弦歌之典，写读书吟咏、礼乐自娱——历锋镝、陷牢囚而不废弦歌，正是圣贤所谓「造次必于是，颠沛必于是」的气象。此联以险厄反衬操守，一「过」一「不废」，写尽遗民之镇定与坚守，起笔即立风骨，为全诗定下刚健基调。

The first couplet narrates, and bone shows through the story, the charter of the whole poem's integrity. Spear-point and arrow-head, prison and chains, I have passed them all in turn writes the perils survived: spear-point and arrow-head the weapons of war, prison and chains the disaster of bonds — the poet, resisting the Qing, has passed through battle and dungeon again and again; in turn writes his passing through them all with composure, the word originally meaning in turn, casually, here writing the perils as ordinary things, met and passed, showing his calm and his looking on death as home. Still my zither and songs are not silenced writes his holding fast: still writes the unchanged original intent through the perils, not silenced the unceasing music; zither and songs uses the allusion of Ziyou's string-song in the Analects, writing reading, chanting, and the ritual and music that solace the self — through spears and dungeons, the zither and songs unsilenced, precisely the bearing the sages name: in haste and in extremity, always at this. The couplet sets the perils against the holding fast: passed and not silenced, writing the loyalist's calm and steadfastness, the opening establishing bone, fixing the firm tone of the whole.

死犹未肯输心去，贫亦其能奈我何

Not even in death would I surrender my heart away; what can poverty do to me?

即便身死也绝不肯交出本心，贫穷又怎能奈何得了我

Even in death I would not surrender my heart; what can poverty do to me?

颔联以流水对斩钉截铁，写尽守志之坚，是全诗最有力的对句。「死犹未肯输心去」写死且不屈：即便身死，也绝不肯交出本心——「输心」为交出本心、屈节降志之意，「未肯」写其坚拒，「死犹」写其至死不变——以死为底线，死且不肯，则生更可知；「贫亦其能奈我何」写贫莫奈我：贫穷又怎能奈何得了我——「其能奈我何」以反问出之，语势斩截，写贫之不足惧——死且不怕，贫又何足道。此联「死」「贫」对举，流水对一气贯注：先立「死」之底线，再破「贫」之困厄，层层递进，将守志之坚写到极致。以「犹」「亦」两个虚字相呼应，语气斩钉截铁、不容置辩，正是遗民「贫贱不能移，威武不能屈」的写照，也是全诗傲骨最集中的体现。

The second couplet, a rushing couplet decisive as cut metal, writes the firmness of keeping resolve, the most forceful pair of the poem. Even in death I would not surrender my heart writes not yielding even in death: though dying, never surrendering the original heart — surrendering the heart means yielding the heart, bending the will; not willing writes the refusal, even in death writes the unchanging unto death — taking death as the bottom line, and if death will not bend him, life is plain. What can poverty do to me? writes poverty's powerlessness over me: what can poverty do to me? asks in a rhetorical question, decisive in force, writing that poverty is not to be feared — death not feared, then what is poverty. The couplet sets death and poverty against each other, the rushing line flowing as one: first the bottom line of death, then the breaking of poverty's trap, advancing layer by layer, the firmness of the kept will to the utmost. Linked by the two particles yet and also, the tone decisive and unarguable, precisely the loyalist's unshaken by poverty or might, the concentrated expression of the poem's unyielding pride.

廿两棉花装破被，三根松木煮空锅

Twenty taels of cotton stuff my broken quilt; three pine logs boil my empty pot.

廿两棉花缝成破被，三根松木支起空锅

Twenty taels of cotton stuffed into a tattered quilt; three pine sticks boiling an empty pot.

颈联以白描写贫状，数字精确而诙谐，是遗民贫居生活的实录。「廿两棉花装破被」写被之贫：廿两棉花，装进破被——廿两（旧制一斤为十六两，廿两仅一斤余）棉花，何其单薄；破被一床，何其寒碜——单薄的棉絮、破烂的被褥，贫状如在目前；「三根松木煮空锅」写食之贫：三根松木，煮着空锅——三根柴火，何其微少；空锅无米，何其困窘——柴少锅空，灶冷无烟，饥寒交迫之状毕现。此联的妙处在于以数字写实：「廿两」「三根」精确到数，白描到底，不夸张、不悲叹，而贫之极、苦之深自见；又以「装」「煮」两个动词写日常动作，破被空锅的日常，正是遗民隐居生活的实录。数字精确而诙谐，苦中作乐、酸楚中见坦荡，为尾联「堂堂地」的振起蓄足情势。

The third couplet paints poverty in plain strokes, the numbers precise and the humor quiet, the record of the loyalist's poor dwelling. Twenty taels of cotton stuffed into a tattered quilt writes the quilt's poverty: twenty taels of cotton packed into a broken quilt — twenty taels (under the old system sixteen taels to the jin, twenty taels but a jin and a fraction), how thin; one tattered quilt, how mean — the thin wadding and the ragged cover, the poverty before the eyes. Three pine sticks boiling an empty pot writes the food's poverty: three pine sticks boiling an empty pot — three sticks of firewood, how few; an empty pot without rice, how dire — little wood and empty pot, the cold hearth without smoke, hunger and cold fully visible. The beauty lies in writing fact through numbers: twenty taels and three sticks precise to the count, plain painting through and through, no exaggeration, no lament, and the depth of the poverty self-evident; and the two verbs stuffed and boiling write the daily actions, the tattered quilt and the empty pot's everydayness, precisely the record of the loyalist's seclusion. Numbers precise and humorous, joy in hardship, openness in bitterness, storing full force for the upright rise of the last couplet.

一冬也是堂堂地，岂信人间胜着多

This whole winter too I stand in open honour; how could I think the world holds a better move?

这一整个冬天也过得堂堂正正，哪里会相信人世间还有什么更高明的活法

All winter long I live uprightly as one should; why should I believe the world holds a better game?

尾联以「堂堂地」三字振起全篇，是全诗精神的总爆发。「一冬也是堂堂地」写守志之乐：这一整个冬天——破被空锅、饥寒交迫的冬天——也过得堂堂正正——「堂堂地」三字重若千钧：堂堂者，正大光明、坦坦荡荡，一冬贫居而堂堂正正，不以贫为苦、不以穷为耻，反以守志为荣、以贫居为乐，正是「君子固穷」的气象；「岂信人间胜着多」以反问收束：哪里会相信人世间还有什么更高明的活法——「胜着」本为棋局之妙着，此处喻处世之妙法：世人求富贵、慕荣华，以为此是胜着，而诗人以反问否定之——守节自守，即是最胜之着，人间纵有万般活法，岂有胜于此者？「岂信」二字斩钉截铁，将穷愁化为理直气壮，全诗以「堂堂地」立骨、以「岂信」收束，傲骨凛然，是遗民精神最昂扬的表达。

The closing couplet rises on uprightness, the eruption of the poem's spirit. All winter long I live uprightly as one should writes the joy of keeping resolve: this whole winter — the tattered quilt, the empty pot, the winter of hunger and cold — lived uprightly as one should; the word upright is weighty as a thousand jun: upright means open, bright, unflinching, a winter of poverty lived uprightly, taking no grief from poverty, no shame from want, but pride in keeping the resolve and joy in the poor dwelling, precisely the bearing of the gentleman's constancy in hardship. Why should I believe the world holds a better game? closes in a question: why should I believe the world holds any better way of living? A winning move is properly a fine move in chess, here figuring the fine way of living — the world seeks wealth and glory, taking it for the winning move, and the poet denies it by his question: keeping one's integrity is the winning move, and among all the ways of the world, is there any better? The word why believe is decisive, turning the poverty and grief into reasoned, upright force; the poem is bone by upright, closed by why believe, the pride unbowed, the most spirited expression of the loyalist's spirit.

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取次 In turn, one by one—says the perils were met and passed with composure, revealing his calm. 「锋镝牢囚取次过」之「取次」，本为依次、随便、寻常之意，是全诗写遗民镇定的关键炼字。「取次过」言险厄依次而来、一一度过，如平常事——「取次」二字写尽诗人对锋镝牢囚的态度：不以之为奇、不以之为惧，兵锋牢狱，取次而过，视险如夷、视死如归，何等镇定从容！此词的妙处在于以轻写重：锋镝牢囚，本是生死大事，而诗人以「取次」二字轻描淡写地带过——越是说得轻描淡写，越见其视死如归的镇定；越是说得寻常随便，越见其历经磨难的通透。若说「艰难过」「侥幸过」，则失之沉重；「取次过」三字，举重若轻，正是遗民「泰山崩于前而色不变」的气度，也为下句「依然不废我弦歌」的坚守作了最好的铺垫。

输心 To give up the heart, i.e. to yield and betray one's oath; weighty as a thousand pounds, it shows his vow to guard his person like jade. 「死犹未肯输心去」之「输心」，意为交出本心、屈节降志，是诗人自铸之语，重若千钧。「输」本为输送、缴纳之意，此处写交心——「输心」即把心交出去，将本心、节操拱手让人，正是降志辱身、屈节事敌之谓。此词的妙处在于以「心」为对象：所守者非身、非命，而是心——身可死，命可丧，而心不可输；「未肯输心」写其守心如玉，死且不肯交出本心，见其节操之坚如磐石。与「死犹」配合，「死犹未肯」写至死不变：以死为最后底线，死且不肯，则斧钺加身、贫贱交迫，更无足论。二字自铸而重若千钧，将遗民「守身如玉、守心如城」的节操写得斩钉截铁，是全诗最见骨力的炼字，也是理解遗民气节的关键词。

堂堂地 Upright and open in bearing; it closes the whole poem, turning poverty into true dignity. 「一冬也是堂堂地」之「堂堂地」，意为正大光明、坦坦荡荡，是全诗精神的总爆发，结穴全篇。「堂堂」本形容仪容之正大、气象之开阔，加「地」字为助词，写其状态——「堂堂地」三字，将破被空锅、饥寒交迫的贫居生活写得理直气壮：一冬贫居，而堂堂正正，不以贫为苦、不以穷为耻，反以守志为荣、以贫居为乐。此词的妙处在于以正大之气写贫窘之境：贫者多寒酸局促，而诗人「堂堂地」三字，气象全出——不是隐忍，不是悲叹，而是昂首挺胸、坦坦荡荡地过这个冬天，正是「君子固穷」「贫贱不能移」的气象。与「岂信人间胜着多」配合，以堂堂之姿否定世人求富贵的「胜着」，将穷愁化为正气，是全诗傲骨的结晶，也是遗民精神最昂扬的语言。