清 Qing · 诗 Poem
山行
Mountain Walk
野寺分晴树，山亭过晚霞。
春深无客到，一路落松花。
Deep in spring, no guest comes; all along the way the pine flowers fall.
Meaning
A temple in the wild divides the bright trees of a clear day; the pavilion on the hill sees the evening glow depart. Spring is deep, and no traveller or guest comes; all along the way only the pine flowers fall quietly.
野外的寺院把晴日的树色一分为二，山中的亭子送走了晚霞。春意已深，再没有游人客子来到，一路上只有松花悄然飘落。
Appreciation
This twenty-character quatrain moves from a seen scene to a quiet feeling. The first two lines, 'Wild temple divides the clear-day trees; the hill pavilion passes the evening glow', set the walk with 'wild temple' and 'hill pavilion'; the verb 'divides' writes the temple's shadow mingling and reflecting with the clear-day trees, and 'passes' writes the setting sun slowly crossing the pavilion. The last two lines turn from spatial scene to temporal stillness: 'no guest comes' writes the absence of people, and 'the pine flowers fall' writes a soundless dropping, using motion to set off stillness, so the lonely, secluded mood fully emerges. In twenty characters the layers are orderly and the tone is plain, with a touch of chan.
【白话串讲】 “野寺分晴树，山亭过晚霞”——施闰章写山行：野寺在晴树中，山亭掠过晚霞。“春深无客到，一路落松花”——春天深了，没人来，一路落着松花。 【意象与手法】 前两句“野寺分晴树，山亭过晚霞”，以“野寺”“山亭”点出山行所历，“分”字写寺影与晴树交融互映，“过”字写夕阳缓缓掠 【情感与主旨】 施闰章，字尚白，一字屺云，号愚山，晚号矩斋，江南宣城（今安徽宣城）人 【名句点睛】 常考“炼字”“以动衬静”“意境”。命题示例：赏析“野寺分晴树，山亭过晚霞”中“分”和“过”的妙处。答
Background
Shi Runzhang, styled Shangbai, also Qiyun, named Yu Shan, late in life Ju Zhai, was a native of Xuancheng, Jiangnan (modern Anhui). A jinshi of the sixth year of Shunzhi, he served as a provincial judge and later was called to the Hanlin Academy; with Song Wan he is paired as 'South Shi, North Song'. His style is clear, deep, pure and elegant, near Wang Shizhen's 'spirit-resonance' yet more substantial. This 'Mountain Walk' is a small landscape poem, written perhaps on a journey or in retirement, depicting a deep-spring solitary walk among wild temple, hill pavilion and a road full of pine flowers.
《山行》为清代施闰章所作，是写山中行游、春深幽静之景的诗。施闰章（1619—1683），字尚白，号愚山，宣城人，清代诗人。此诗：野寺分晴树，山亭过晚霞。春深无客到，一路落松花。全诗写山中行游、春深幽静，是施闰章诗的名篇。
Art
The first two lines, 'Wild temple divides the clear-day trees; the hill pavilion passes the evening glow', set the walk with 'wild temple' and 'hill pavilion'; 'divides' writes the temple's shadow mingling and reflecting with the clear-day trees, and 'passes' writes the setting sun slowly crossing the pavilion. The two verbs bring the still scene to life and show fine craft. The last two lines, 'Deep in spring, no guest comes; all along the way the pine flowers fall', turn from the space of the scene to the stillness of time: 'no guest' writes how few people come, and 'pine flowers fall' writes a soundless dropping, using motion to set off stillness, so the secluded mood wholly appears. In twenty characters the layers are orderly and the tone is plain, with a touch of chan.
《山行》艺术上以山中行游的描摹与春深幽静的闲淡见长。全诗四句：首写野寺晴树——“野寺分晴树”写野寺分晴树；中写山亭晚霞——“山亭过晚霞”写山亭过晚霞；末写春深落松花——“春深无客到，一路落松花”写春深无客到、一路落松花。全诗以四句写山中行游、春深幽静，正是施闰章诗闲淡的笔法。
Allusions
The poem uses no allusion, writing the mountain walk in pure plain description, fitting its 'clear, deep, pure, elegant' manner. 'Wild temple' and 'hill pavilion' are common images in classical landscape poetry, inheriting the secluded taste of Wang Wei's 'Bamboo Lodge' and 'Deer Park'; 'pine flowers' quietly accords with the loftiness of reclusion — the ancients often wrote mountain dwelling with pine flowers and pine wind (as Wang Wei's 'bright moon between the pines'). The whole poem has no obscure old story, winning by the tempering of ordinary words like 'divides' and 'passes' and by the method of using motion to set off stillness — a model of the 'spirit-resonance' poem that 'without a word, wins all grace'.
《山行》用典少而取景自然。“山行”为诗题（写山中行游）；“松花”写松树之花（松花粉）。全诗以这些意象写山中幽静，不用深典而闲淡自见，正是施闰章诗的笔法。
Commentary
Shi Runzhang and Song Wan are paired as 'South Shi, North Song'; Wang Shizhen praised his poetry as 'gentle and sincere, with a lingering sigh'. A modern critic said of 'Mountain Walk' that 'twenty characters equal a whole travel record, plain with the leftover manner of Wei and Liu'. His small poems are good at writing secluded landscapes, gaining the spirit of Wang and Meng yet with more substance; together with the contemporary spirit-resonance of Wang Shizhen and the purity of Zha Shenxing he forms his own manner, a fine piece of early-Qing landscape poetry.
《山行》是施闰章诗的名篇，也是清诗中写山中幽静的代表作。此诗写山中行游、春深幽静，向为论者称道。论者多赏其山中行游的描摹与春深幽静的闲淡——“野寺分晴树，山亭过晚霞”写野寺山亭、晴树晚霞，闲淡之极；“春深无客到，一路落松花”写春深无客、一路落松花，更见其幽。施闰章为清初诗人，其诗以清雅闲淡著称，此诗正是其代表——以山中行游写春深幽静，正是其诗风。
Prosody
Line by line
野寺分晴树，山亭过晚霞。
The wild temple is parted by sunlit trees; over the mountain pavilion drifts the evening glow.
野寺分晴树，山亭过晚霞。
The wild temple shows through gaps in the sunlit trees; evening glow drifts past the mountain pavilion.
首写野寺晴树、山亭晚霞，是全诗写山中行游的起点。“野寺分晴树”写野寺分晴树——“野寺分晴树”写野寺在晴树之间显露（分为晴树所隔）——野寺分晴树；“山亭过晚霞”写山亭过晚霞——“山亭过晚霞”写山亭之上晚霞飘过——山亭过晚霞。二句写野寺晴树、山亭晚霞：野寺分晴树，山亭过晚霞。以“野寺分晴树”写野寺隐现于晴树之间，以“山亭过晚霞”写山亭之上晚霞飞过，正是施闰章诗写山中行游的起点——野寺山亭，晴树晚霞。
The opening writes the wild temple among sunlit trees, the evening glow over the mountain pavilion, the starting point of the mountain wander. The wild temple is parted by sunlit trees says the wild temple emerging amid the sunlit trees, parted by the trees. Over the mountain pavilion drifts the evening glow says the evening glow drifting over the mountain pavilion. Two lines: the wild temple and the sunlit trees, the mountain pavilion and the evening glow. Writing the temple's showing and hiding among the trees, writing the glow's passage above the pavilion, exactly the starting point of Shi Runzhang's mountain walk — wild temple and mountain pavilion, sunlit trees and evening glow.
春深无客到，一路落松花。
Spring grown deep, no traveler comes; along the road, pine flowers fall.
春深无客到，一路落松花。
Spring is deep and no visitor arrives; along the whole path, pine catkins are falling.
末写春深无客、一路落松花，是全诗写春深幽静的归结。“春深无客到”写春深无客到——“春深无客到”写春深之时无客到来——春深无客到；“一路落松花”写一路落松花——“一路落松花”写一路之上松花飘落——一路落松花。二句写春深无客、一路落松花：春深无客到，一路落松花。以“春深无客到”写春深山寂、无客到来之幽，以“一路落松花”写一路松花飘落之静，正是施闰章诗写春深幽静的归结——山深人静，松花自落。
The close writes the deep spring and no visitor, the pine flowers falling along the road, the resolution of the deep-spring stillness. Spring grown deep, no traveler comes says in the depth of spring no traveler arrives. Along the road, pine flowers fall says pine catkins falling all along the path. Two lines: the deep spring and no guest, the road and the falling pine flowers. Writing the mountain's solitude at deep spring, writing the road's stillness in the falling blossoms, exactly the resolution of the deep-spring quiet — the mountain deep and the man still, the pine flowers falling of themselves.
Study
Word focus
Related Reading
Same title 'Mountain Walk': Du Mu, with 'a household among white clouds on the far slope', writes lively autumn hills, while Shi Runzhang, with 'all along the way the pine flowers fall', writes secluded spring hills — compare the same title, different interests.
杜牧《山行》“远上寒山石径斜，白云生处有人家”写秋山红枫，与本首同为山行诗。差异在情境：施闰章山行写春深幽静；杜牧山行写秋山红枫。一写“春”之静，一写“秋”之丽。两者并读，可见山行诗的春秋两种情境。
东郊行 A Journey to the Eastern Suburbs 施闰章 · 同为施闰章诗写郊游之景，一写山中行游一写东郊之景，皆清雅 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
施闰章《东郊行》写东郊行游之景，与本首同为施闰章诗。差异在情境：山行写山中幽静；东郊行写东郊之景。一写“山”之静，一写“郊”之景。两者并读，可见施闰章诗写行游的两种情境。
鸟鸣涧 The Dale of Singing Birds 王维 · 同为写山中幽静之诗，一写春深落花一写月出惊鸟，皆幽静 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
王维《鸟鸣涧》“月出惊山鸟，时鸣春涧中”写山中幽静，与本首同为写山中幽静。差异在情境：山行写春深落松花；鸟鸣涧写月出惊山鸟。一写“落”之静，一写“鸣”之静。两者并读，可见写山中幽静的两种情境。