宋 Song · 词 Ci lyric
风入松
Wind Through the Pines
卷舒无意入虚玄。
丘壑伴云烟。
石根清气千年润，覆孤松、深护啼猿。
霭霭静随仙隐，悠悠闲对僧眠。
傍花懒向小溪边。
空谷覆流泉。
浮踪自感今如此，已无心、万里行天。
记得晋人归去，御风飞过斜川。
Ravines and hills keep company with clouds and mist.
At the stone roots the pure breath has moistened a thousand years, covering the lone pine, deeply sheltering the crying gibbons.
Misty vapors quietly follow the immortal recluse; leisurely and at ease, they face the sleeping monk.
By the flowers, too idle to walk to the little stream.
An empty valley covers the flowing spring.
My drifting traces I feel are now like this — no heart left to roam ten thousand li across the sky.
I remember the man of Jin returning home, riding the wind across the slanting stream.
Meaning
This lyric paints a world of mountain solitude — stone roots, a lone pine, crying gibbons, empty valleys — as the fitting home of a detached heart. In its second half the poet confesses the weariness of a life adrift since the fall of the Song and turns for consolation to Tao Yuanming’s example of retirement, closing on the weightless image of riding the wind over the slanting stream.
卷舒无心，进入了虚玄之境。丘壑相伴着云烟。石根的清气，千年润泽，覆盖着孤松，深深护着啼猿。霭霭的云气，静随仙隐，悠悠的闲情，对着僧眠。傍花懒散，懒向小溪边去。空谷之中覆盖着流泉。浮踪自感，如今已是如此，已无心万里行天。记得晋人（陶渊明）归去，御风飞过斜川。
Appreciation
[Plain Paraphrase] With no purpose at all, the poet enters a realm of pure mystery; hills and ravines drift in cloud and mist. For a thousand years the pure breath at the stone roots has nourished a lone pine and sheltered gibbons. Mist follows hidden immortals; quiet hours face a sleeping monk. Too idle even to walk to the stream, the poet drifts through an empty valley — and admits his wandering life has left him no wish to roam the skies any longer. He remembers Tao Yuanming going home and, riding the wind, crosses the slanting stream. [Structure] The first stanza builds an increasingly still mountain world; the second turns inward — from “idle by the flowers” to the confession of weariness — and then outward again to the Tao Yuanming finale. [Imagery] Stone roots, lone pine, gibbon cries, mist, sleeping monk, empty valley and flowing spring: a palette of cold purity in which every object is still, sheltered, and unvisited — the outer counterpart of an untroubled mind. [Emotion and Theme] The lyric voices the “leftover subject’s” double gesture: exhaustion with wandering and the search for a spiritual homeland. [Key Lines] “No heart left to roam ten thousand li” is the emotional hinge; “riding the wind across the slanting stream” is its ethereal answer.
【白话串讲】 张炎写《风入松》：“卷舒无意入虚玄。丘壑伴云烟”——“石根清气千年润，覆孤松、深护啼猿”——“浮踪自感今如此，已无心、万里行天”——“记得晋人归去”——他写云烟孤松。 【意象与手法】 “卷舒无意入虚玄。丘壑伴云烟”写超然物外的虚玄之境；“石根清气千年润，覆孤松、深护啼猿”写丘壑松猿的幽寂；“霭霭静随仙隐，悠悠闲对僧眠”写仙隐僧眠的闲适；下阕以“浮踪自感今如此，已无心、万里行天”写浮踪漂泊、无心万里的心灰；终以“记得晋人归去，御风飞过斜川”以陶渊明归斜川写归隐之志。清空疏淡、意境幽远。 【情感与主旨】 张炎写隐逸之志与归隐之思之作，写超然物外、归隐山林之愿与浮踪漂泊的心灰，是张炎遗民词中归隐主题的代表作。 【名句点睛】 常考“卷舒无意入虚玄。丘壑伴云烟”以丘壑云烟写隐逸之境；“浮踪自感今如此，已无心、万里行天”以无心万里写心灰。
Background
Zhang Yan (1248–c. 1320), courtesy name Shuxia, hao Yutian and also Lexiaoweng, was a native of Lin’an (modern Hangzhou). The sixth-generation descendant of the Southern Song general Zhang Jun, he grew up in a wealthy house filled with paintings and calligraphy. After the Song fell, the family property was confiscated; Zhang Yan wandered the rivers and lakes, north and south, and in old age retired to Hangzhou, keeping his integrity until death. His lyrics, famed for being “pure and sparse” (qingkong), are masterpieces of the yimin voice — the sorrow of the displaced loyalist dressed in translucent imagery. This poem belongs to his reclusion cycle.
此词为宋末元初词人张炎的《风入松》之作，是写隐逸归隐的名篇。张炎（1248—约1320），字叔夏，号玉田，又号乐笑翁，临安（今浙江杭州）人，宋末元初词人，宋末四大词家之一。他是南宋名将张俊的六世孙，家世显赫，家藏书画极富；宋亡后，家产抄没，张炎流落江湖，漫游南北，晚年归隐杭州，抱节而终。其词清空疏淡，长于写遗民的身世之感与故国之思。此词写隐逸之志：上阕「卷舒无意入虚玄。丘壑伴云烟」，写卷舒无心、进入虚玄之境——卷舒无意为不著意于卷舒，正是「无心」的淡然，丘壑伴云烟，写丘壑与云烟相伴的幽寂；「石根清气千年润，覆孤松、深护啼猿」，写石根的清气千年润泽，覆盖孤松、深护啼猿——石根、孤松、啼猿，正是山林的幽寂之景，清气千年润泽，写山林之清远；「霭霭静随仙隐，悠悠闲对僧眠」，写霭霭的云气静随仙隐，悠悠的闲情对着僧眠——仙隐、僧眠，正是山林中隐者与僧侣的闲适。下阕「傍花懒向小溪边。空谷覆流泉」，写傍花懒散，懒向小溪边去，空谷之中覆盖着流泉——傍花、流泉，正是山林幽景，而「懒」字写心境的疏懒；「浮踪自感今如此，已无心、万里行天」，写浮踪漂泊，自感如今已是如此，已无心万里行天——「浮踪」写漂泊无定的人生，「已无心万里行天」写对远游的倦怠，正是「倦鸟知还」的心境；「记得晋人归去，御风飞过斜川」，写记得晋人（陶渊明）归去，御风飞过斜川——陶渊明《游斜川》写与二三邻曲游斜川之乐，御风用列子御风之典，以陶渊明归隐写自己的归隐之志。全词以山林为背景，写尽隐逸的幽寂与归隐的向往，清空疏淡而意境幽远，是张炎遗民词中归隐主题的代表作。
Art
The poem’s craft is restraint: nothing loud, nothing crowded. The opening “roll and unfurl with no intent” adopts the posture of the cloud itself, and the whole first stanza simply lets the mountain be — stone roots moistening for a thousand years, mist following the recluse, leisure facing the monk. The verb choices are deliberately passive: “cover,” “shelter,” “follow,” “face.” In the second stanza the single verb “lazy” — “too idle to walk to the little stream” — turns scenery into psychology, and “no heart left to roam ten thousand li” states the survivor’s exhaustion in seven plain syllables. The finale is the poem’s technical summit: “riding the wind” borrows Liezi’s flight, “the slanting stream” borrows Tao Yuanming’s poem, and the two fuse into an image of retirement that is both memory and wish. The overall effect is Zhang Yan’s signature: emotion held at a distance, yet legible in every image.
此词艺术上以「清空疏淡」与「意象幽寂」为特色，在山林的背景中写尽归隐的志趣。上阕以「卷舒无意入虚玄」起笔，写卷舒无心、进入虚玄之境——「卷舒无意」写不著意于卷舒的淡然，「虚玄」写超然物外的境界，起笔即见超脱；「丘壑伴云烟」，以「伴」字写丘壑与云烟相伴，物我相忘，正是山林幽寂之境；「石根清气千年润，覆孤松、深护啼猿」，以「石根清气」写山林之清，以「覆孤松」「深护啼猿」写松猿之幽，千年润泽写山林之清远；「霭霭静随仙隐，悠悠闲对僧眠」，以「霭霭」「悠悠」写云气之静、闲情之悠，以「静随」「闲对」写仙隐僧眠之闲适，正是「静」「闲」二字的展开。下阕「傍花懒向小溪边。空谷覆流泉」，以「懒」字写心境的疏懒，以「空谷覆流泉」写空谷的幽静——那流泉被空谷覆盖，正是幽静之极的写照；「浮踪自感今如此，已无心、万里行天」，以「浮踪」写漂泊的人生，以「已无心」写心灰意懒，以「万里行天」写当年的远游之志——如今「已无心」，正是「倦鸟知还」的心境；「记得晋人归去，御风飞过斜川」，以「记得」写对陶渊明的追忆，以「御风飞过斜川」写归隐之志——那晋人归去的斜川，正是词人归隐的向往。全词由虚玄入丘壑、由丘壑入浮踪、由浮踪入斜川，层层递进而意境幽远，是张炎词「清空疏淡」的极致。
Allusions
The allusions all serve reclusion. “Roll and unfurl” echoes Tao Yuanming’s “clouds issue from the peaks with no intent” from Returning Home — detachment as natural motion. “Void and mystery” belongs to the abstruse learning of the Wei and Jin, the metaphysics of transcendence. The “lone pine” recalls Tao’s “I stroke the lone pine and linger” from the same fu. “Crying gibbons” carries the old valley-loneliness of the Ba gorges. “Immortal recluse” and “sleeping monk” blend the Daoist and Buddhist strains of mountain withdrawal. “Drifting traces” is the standard self-description of the exiled loyalist — duckweed, cloud, wanderer. The finale is double-barreled: “riding the wind” is Liezi from the Zhuangzi, and “the man of Jin” is Tao Yuanming, whose poem “Visiting the Slanting River” records an outing with neighbors after his retirement — here the very name of the happy land of retirement.
此词用典皆围绕隐逸归隐展开。「卷舒」，写云卷云舒，暗含「云无心以出岫，鸟倦飞而知还」之意——陶渊明《归去来兮辞》「云无心以出岫」，正是「卷舒无意」的先声，写不著意于卷舒的淡然。「虚玄」，写超然物外的玄境，暗含老庄玄学之意——魏晋名士崇尚玄远，以虚玄写超脱之境。「石根清气千年润」，写石根清气的千年润泽，暗含「石」的永恒与「清气」的高洁——以石写山林之幽、以清气写高洁之志。「孤松」，写孤独的松树，暗含「孤松」的高洁——陶渊明《归去来兮辞》「抚孤松而盘桓」，以孤松写隐者的孤高。「啼猿」，写啼鸣的猿，暗含「巴东三峡巫峡长，猿鸣三声泪沾裳」的幽怨，也写山林的幽寂。「仙隐」，写神仙般的隐者，暗含「隐逸」与「仙道」的相通——山中隐者，如仙如道。「僧眠」，写僧人的安眠，写山林的幽静与僧人的禅定。「空谷覆流泉」，写空谷覆盖流泉，暗含「空谷足音」的幽静与「幽谷泉鸣」的清响。「浮踪」，写漂泊的踪迹，暗含「萍踪」的漂泊——张炎宋亡后流落江湖，「浮踪」正是其身世的写照。「晋人归去」，指陶渊明归隐——陶渊明为东晋诗人，辞官归隐，是「晋人归去」的典范；「御风飞过斜川」，用列子御风之典——《庄子·逍遥游》载列子御风而行，又暗用陶渊明《游斜川》之篇——陶渊明与邻曲游斜川，作诗记之，写归隐之乐。这些典故，或写云卷云舒、或写孤松猿啼、或写仙隐僧眠、或写晋人斜川，皆围绕隐逸归隐这一核心，织成一张清空的情网，正是张炎词「用事自然」的特点。
Commentary
The heart of the lyric is the twelve syllables “my drifting traces I feel are now like this — no heart left to roam ten thousand li.” Zhang Yan had lost his house, his estate, and his dynasty; “drifting traces” is his own biography. The phrase “no heart left to roam” is not laziness but the specific fatigue of the survivor: when the country is gone, what does roaming mean? The poem’s most beautiful turn is the word “remember” — “I remember the man of Jin returning home.” In the depth of weariness, memory supplies an alternative life: Tao Yuanming could retire, could ride the wind over the slanting stream, and so — in imagination — can he. From “drifting traces” to “the slanting stream” is the entire journey of the late-Song loyalist’s self-consolation: if the wandering cannot end, it can at least be redirected toward an inner homeland. This ending, pure and airborne, is the summit of Zhang Yan’s qingkong style.
读此词，最令人低回的是「浮踪自感今如此，已无心、万里行天」这十二字所写出的「倦」。「浮踪自感今如此」，写浮踪漂泊，自感如今已是如此——张炎宋亡后家产抄没、流落江湖，「浮踪」正是他身世的写照，那漂泊的踪迹，如今已是「如此」——如此漂泊、如此落寞；「已无心、万里行天」，写已无心万里行天——当年「万里行天」的远游之志，如今已无心，正是「倦鸟知还」的心境。这一「倦」，不是一般的倦，是遗民历尽沧桑后的倦：家国既亡，万里行天又有什么意义？不如归隐山林，与丘壑云烟相伴。而全词最清空的，是「记得晋人归去，御风飞过斜川」——在「已无心万里行天」的倦怠中，词人忽然「记得」晋人陶渊明归去、御风飞过斜川。这「记得」，是词人对归隐的向往：陶渊明能辞官归隐，御风飞过斜川，正是词人心中的理想境界。从「浮踪」的漂泊，到「斜川」的归隐，正是张炎这位遗民词人的自我安顿：既然万里行天已无心，那就学晋人归去，御风飞过斜川。这「御风飞过斜川」的结尾，清空而飘逸，正是张炎词「清空疏淡」的最高境界，也是这位遗民词人在亡国之后，于山林之中找到的精神归宿。
Prosody
Line by line
卷舒无意入虚玄。
I roll and unfurl with no intent, entering the void and mystery.
卷舒无心，进入了虚玄之境。
The clouds curl and uncurl without intent, entering the realm of the void and the mystery.
这一句是全词的起笔，写卷舒无心、进入虚玄之境，是此词超脱基调的开端。「卷舒无意」，写不著意于卷舒——「卷舒」写云卷云舒，暗含陶渊明「云无心以出岫」之意，「无意」写不著意、不挂心，正是「无心」的淡然；「入虚玄」，写进入虚玄之境——「虚玄」写超然物外的玄境，暗含老庄玄学之意。这一起笔，以「卷舒无意」写心境的淡然，以「入虚玄」写境界的超脱，正是「无心」与「虚玄」的结合，为全词定下清空疏淡的基调。以「卷舒无意」写超脱，比「不慕荣利」更见飘逸，正是张炎词「清空疏淡」的开端，也是此词归隐主题的起点。
The opening line writes the cloud's curling and uncurling without intent, the beginning of the ci's detached tone. The clouds curl and uncurl without intent writes the unconcern with curling or spreading — the curling and uncurling evoking Tao Yuanming's the clouds rise from the peaks without intent, the without-intent the unconcern, the detachment of the cloudless mind; entering the realm of the void and the mystery writes the entry into the transcendent realm — the void and mystery, the transcendent realm beyond the world, evoking Lao-Zhuang philosophy. The opening writes the mind's calm through the curling and uncurling, and the detachment through the void and mystery, the union of the no-mind and the mystery, fixing the ci's clear, spare tone. The detached curling and uncurling, more ethereal than the not-coveting-glory, the beginning of Zhang Yan's clear-and-spare style and the starting point of the hermitage theme.
石根清气千年润，覆孤松、深护啼猿。
At the stone roots the pure breath has moistened a thousand years, covering the lone pine and deeply sheltering the crying gibbons.
石根的清气千年润泽，覆盖着孤松，深深护着啼猿。
At the stone's root, the pure air is moist through a thousand years; it overspreads the lone pine, deeply shelters the crying apes.
这一句写山林幽寂的景象，是此词由虚玄之境转入丘壑之景的枢纽。「石根清气千年润」，写石根的清气千年润泽——石为山林之根，清气为高洁之气，千年润泽写山林之清远；「覆孤松、深护啼猿」，写覆盖孤松、深护啼猿——孤松为高洁之木，暗含陶渊明「抚孤松而盘桓」，啼猿为山林之音，写山林的幽寂，「覆」「护」二字，写山林对松猿的覆盖与护佑。以「石根」「孤松」「啼猿」三个意象写山林，石清、松孤、猿啼，正是山林幽寂之景；以「千年润」写清远，以「覆」「深护」写护佑，正是此词丘壑幽寂的写照。这一句，是此词由虚玄转入丘壑的枢纽，也是「霭霭静随仙隐」的铺垫。
The line writes the mountain forest's quietude, the hinge from the void-mystery realm to the hill-and-stream scene. At the stone's root, the pure air is moist through a thousand years writes the pure air at the stone's root moist for a thousand years — the stone the root of the mountain, the pure air the lofty breath, the thousand years' moisture the forest's far clarity; it overspreads the lone pine, deeply shelters the crying apes writes the lone pine covered, the crying apes sheltered — the lone pine evoking Tao Yuanming's stroking the lone pine and lingering, the crying ape the forest's sound, the two words overspread and shelter the mountain's covering and protecting of pine and ape. Three images of stone, lone pine, and crying ape, the stone pure, the pine lone, the ape crying, the quiet mountain scene; the thousand years' moisture the far clarity, the overspread and deep shelter the protection, the portrait of the forest's stillness. The hinge of the ci's movement from the void to the hills, the ground for the following lines.
记得晋人归去，御风飞过斜川。
I remember the man of Jin returning home, riding the wind across the slanting stream.
记得晋人陶渊明归去，御风飞过斜川。
I remember the Jin man going home, riding the wind, flying over Xiechuan.
这一句是全词的结穴，以陶渊明归隐写自己的归隐之志，是此词情感的最高点。「记得晋人归去」，写记得晋人陶渊明归去——陶渊明为东晋诗人，辞官归隐，是「晋人归去」的典范，词人「记得」他归去，正是对归隐的向往；「御风飞过斜川」，写御风飞过斜川——用列子御风之典，又暗用陶渊明《游斜川》之篇，陶渊明与邻曲游斜川，作诗记之，写归隐之乐。以「御风」写归隐的飘逸，以「斜川」写归隐的乐土，正是「归去来兮」的境界。这一结句，把「已无心万里行天」的倦怠，化作了「御风飞过斜川」的归隐，正是词人的自我安顿——既然万里行天已无心，那就学晋人归去，御风飞过斜川。这一句，清空而飘逸，是张炎词「清空疏淡」的最高境界，也是此词归隐主题的收束。
The closing gathers the ci's feeling, writing the hermit's resolve through Tao Yuanming, the highest point of the ci's emotion. I remember the Jin man going home writes remembering Tao Yuanming's return — Tao Yuanming, the Eastern Jin poet who resigned and withdrew, the model of the Jin man's going home, and the poet's remembering his return is the longing for the hermitage; riding the wind, flying over Xiechuan writes riding the wind across Xiechuan — using the Liezi allusion of riding the wind, and evoking Tao Yuanming's poem Rambling in Xiechuan, where he roamed with his neighbors and wrote of the hermit's joy. The riding-the-wind writes the hermit's lightness, Xiechuan the hermit's paradise, the realm of the home-coming. The closing turns the weariness of already no heart for roaming ten thousand li into the hermitage of riding the wind over Xiechuan, the poet's own settling — since the ten-thousand-li roaming has no heart, then learn from the Jin man's return, ride the wind over Xiechuan. Clear and ethereal, the highest realm of Zhang Yan's clear-and-spare style, the close of the hermitage theme.
Study
Word focus
Related Reading
Tao’s “long in the cage, at last I return to nature” is grounded, rustic, and warm; Zhang Yan’s “riding the wind across the slanting stream” is weightless and “pure and sparse.” Tao works the soil; Zhang dissolves into mist. Reading them together shows the reclusion theme shifting from field labor to pure detachment — and Zhang’s “remembering the man of Jin” is an explicit bow to Tao.
陶渊明《归园田居·其一》「少无适俗韵，性本爱丘山」「久在樊笼里，复得返自然」，写辞官归隐、返归自然的躬耕之乐；张炎此词「卷舒无意入虚玄。丘壑伴云烟」「记得晋人归去，御风飞过斜川」，同样写归隐之志。一写「守拙归园田」的躬耕，一写「御风飞过斜川」的飘逸；陶渊明是「暧暧远人村」的田园，张炎是「石根清气千年润」的山林。并读两作，可见「归隐」这一母题从东晋到宋末的传承，也可见张炎以陶渊明为典范的归隐之志——「记得晋人归去」，正是这位遗民词人对陶渊明的追慕。
饮酒·其五 Drinking Wine, No. 5 陶渊明 · 同为写心远地偏的超脱之作，一写采菊东篱的悠然一写卷舒无意的虚玄，超脱之境异代相映 Both write a state of detachment — Tao picking chrysanthemums by the eastern fence, Zhang rolling clouds with no intent.Tao’s “the heart afar, the place turns remote of itself” and “picking chrysanthemums, idly seeing the southern mountain” achieve transcendence inside daily life; Zhang’s “roll and unfurl with no intent, entering the void and mystery” reaches it by dissolving into mountain mist. Tao’s detachment is earthbound ease; Zhang’s is airy abstraction — two flavors of the same transcendence.
陶渊明《饮酒·其五》「结庐在人境，而无车马喧。问君何能尔，心远地自偏」，写心远地偏的超脱与「采菊东篱下，悠然见南山」的悠然；张炎此词「卷舒无意入虚玄」，写卷舒无意的虚玄之境。一写「心远地自偏」的超脱，一写「卷舒无意入虚玄」的超脱；陶渊明是「悠然见南山」的会心，张炎是「霭霭静随仙隐」的闲雅。并读两作，可见「超脱」这一母题在归隐文学中的传承，也可见陶渊明的「心远」与张炎的「无意」，在超脱之境上的异曲同工。
终南别业 My Retreat at Zhongnan 王维 · 同为写山林隐逸之作，一写行到水穷处的禅意一写空谷流泉的幽寂，山水隐逸古今相映 Both write mountain reclusion — Wang Wei’s Chan calm of “sitting and watching clouds rise,” Zhang Yan’s solitude of empty valleys and springs.Wang Wei’s “walk to where the water ends, sit and watch the clouds rise” is Chan spontaneity; Zhang Yan’s “empty valley covered with flowing spring” is a loyalist’s melancholy dressed as scenery. Wang’s retreat is chosen leisure; Zhang’s is exile turned sanctuary. The mountain is the same; the heart behind it — a Tang courtier’s ease versus a Song survivor’s wound — is not.
王维《终南别业》「行到水穷处，坐看云起时」「偶然值林叟，谈笑无还期」，写山林隐逸的禅意与闲适，是唐诗写隐逸的名篇；张炎此词「丘壑伴云烟」「空谷覆流泉」，同样写山林的幽寂与隐逸。一写「行到水穷处」的禅意，一写「傍花懒向小溪边」的疏懒；王维是「坐看云起时」的闲淡，张炎是「霭霭静随仙隐」的清空。并读两作，可见「山林隐逸」这一母题在唐宋两代的传承，也可见山水隐逸在禅意与遗民情怀之间的不同风貌。