宋 Song · 诗 Poem
杂诗 十三
Miscellaneous Poem, No. 13
近寒食雨草萋萋著麦苗风柳映堤早是有家归未得杜鹃休向耳边啼
Near the Cold Food Festival, the rain, the grass, lush and lush,Covering the seedlings of the wheat, the wind, the willows, reflecting the dykes.
Early, having, the home, not yet, returned,
The cuckoo, stop, toward, the ears, crying.
Meaning
A poem of the season and the homesickness, written by the anonymous poet. Near the Cold Food Festival, the rain, the grass lush and lush, covering the seedlings of the wheat, the wind, the willows reflecting the dykes — the scene of the season. Early, having, the home, not yet, returned — the not returned of the poet. And the close's cuckoo stop toward the ears crying — the cuckoo of the close. The poem is the season and the homesickness: the grass of the Cold Food, the not returned, and the close's cuckoo crying.
临近寒食，春雨连绵，野草萋萋，麦苗着雨，风中杨柳映着长堤。早就有家难归，那杜鹃，休要向耳边啼叫。
Appreciation
[Plain Paraphrase] Near the Cold Food Festival, the rain, the grass, lush and lush, covering the seedlings of the wheat, the wind, the willows, reflecting the dykes. Early, having, the home, not yet, returned, the cuckoo, stop, toward, the ears, crying. [Structure and Thought] The poem moves from the scene of the Cold Food with the grass and the willows, through the not returned of the poet, to the close's cuckoo crying toward the ears. [Key Technique] The poem's art is the close of the cuckoo: the grass and the willows of the scene, and the close's cuckoo crying, the homesickness stirred — the feeling gathered in the scene and the close's cuckoo. [Emotional Tone] Fresh, sorrowful, and homeward: the poem is the Cold Food, the not returned and the close's cuckoo.
【白话串讲】 无名氏写《杂诗》：“近寒食雨草萋萋，著麦苗风柳映堤”——“早是有家归未得，杜鹃休向耳边啼”——他写寒食思归——杜鹃休向耳边啼。 【意象与手法】 首句“近寒食雨草萋萋”写寒食将近、春雨草萋的时令；次句“著麦苗风柳映堤”写麦苗着雨、杨柳映堤的春景；三句“早是有家归未得”写有家难归的羁旅之苦；末句“杜鹃休向耳边啼”以杜鹃啼归写思归之深。以景写情、含蓄深沉。 【情感与主旨】 无名氏写寒食思归之作，写寒食春景与有家难归的羁旅之苦，以“杜鹃休向耳边啼”写思归之深，是寒食思归诗的名篇。 【名句点睛】 常考“近寒食雨草萋萋，著麦苗风柳映堤”以寒食雨草写时令；“早是有家归未得，杜鹃休向耳边啼”以杜鹃啼归写思归。
Background
This anonymous poem of the Song, 'Miscellaneous Poem, No. 13', of the season and the homesickness — the longing of the traveler. The grass of the Cold Food with the willows of the dykes, the home not yet returned, and the close's cuckoo crying toward the ears — the poem gathers the homesickness of the traveler, the season of the Cold Food. The poem is one of the anonymous works of the traveler's songs of the Song.
此诗为无名氏《杂诗》之作，是寒食思归的名篇。寒食节在清明前一两天，古俗禁火冷食，为祭扫之节，后世多与清明相连，是游子思归的节令。《杂诗》以「十三」为序号，当为《杂诗》组诗之一首，作者已佚，然此诗以寒食春景写思归之情，广为传诵：「近寒食雨草萋萋」，写临近寒食，春雨连绵，野草萋萋——「近寒食」写寒食将临，「雨」写春雨，「草萋萋」写野草之茂盛，正是寒食时节的春雨春草；「著麦苗风柳映堤」，写麦苗着雨，风中杨柳映着长堤——「著麦苗风」写春雨着于麦苗，麦苗沾雨，「柳映堤」写杨柳映着长堤，正是寒食时节的春景；「早是有家归未得」，写早就有家难归——「早是」写本来、早已，「有家归未得」写有家而难归，正是羁旅的苦楚；「杜鹃休向耳边啼」，写杜鹃休要向耳边啼叫——杜鹃啼声如「不如归去」，游子闻之更思归，「休向」写劝其莫啼，正是思归之深的写照。全诗以寒食春景写思归之情，含蓄而深沉，是寒食思归诗的名篇，其「杜鹃休向耳边啼」一句，尤为传诵。
Art
The poem's art is the art of the season and the cry. The season opens: near the Cold Food Festival, the rain, the grass, lush and lush — the grass of the Cold Food; covering the seedlings of the wheat, the wind, the willows, reflecting the dykes — the willows of the dykes. The homesickness follows: early, having, the home, not yet, returned — the not returned of the poet. And the close gathers the cuckoo: the cuckoo, stop, toward, the ears, crying — the cuckoo crying of the close — the season, the not returned and the close's cuckoo, gathered in the poem.
此诗艺术上以「乐景写哀」与「以声写情」为特色，在寒食春景的描绘中写思归之情。首句「近寒食雨草萋萋」，以「近寒食」写时令将临，以「雨草萋萋」写春雨野草之茂——寒食时节，春雨连绵，野草萋萋，正是春景；次句「著麦苗风柳映堤」，以「著麦苗」写麦苗沾雨，以「柳映堤」写杨柳映堤——麦苗绿、杨柳青，正是春光的明媚。这两句写寒食春景，本是乐景——春草萋萋、麦苗杨柳，皆是生机盎然的春色；然而三句「早是有家归未得」忽然一转，「有家归未得」写有家难归的苦楚——那明媚的春景，本是家人团聚、踏青祭扫的时节，词人却羁旅在外，有家难归，正是「乐景写哀」；末句「杜鹃休向耳边啼」，以杜鹃啼声写思归——杜鹃啼声如「不如归去」，游子闻之更思归，「休向」写劝其莫啼，正是「以声写情」。全诗由寒食春景的明媚，转到有家难归的苦楚，再转到杜鹃啼声的思归，由乐景写哀情、由景语写心声，含蓄而深沉，正是「乐景写哀」的极致，也是无名氏此诗「以景写情」的特点。
Allusions
'The Cold Food Festival' (han shi) is the Cold Food Festival — the festival of the cold food, the season of the spring; 'the seedlings of the wheat' (mai miao) are the seedlings of the wheat — the seedlings of the fields; 'the cuckoo' (du juan) is the cuckoo — the bird of the crying, the homesickness of the close.
此诗用典于关键处见深意。「寒食」，写寒食节——寒食为清明前一两天，古俗禁火冷食，为祭扫之节，《荆楚岁时记》「去冬节一百五日，即有疾风甚雨，谓之寒食」，寒食节是游子思归的节令；「近寒食雨草萋萋」，写寒食将近、春雨草萋。「草萋萋」，暗含「芳草萋萋」的意象——《楚辞·招隐士》「王孙游兮不归，春草生兮萋萋」，后以芳草萋萋写游子不归、思归之情，「草萋萋」写春草之茂，正暗合思归之意。「著麦苗风柳映堤」，写麦苗沾雨、杨柳映堤——麦苗杨柳皆寒食时节的春景，杨柳又是送别思归的意象。「杜鹃休向耳边啼」，用「杜鹃啼归」之典——杜鹃即子规，相传为蜀王杜宇之魂所化，啼声凄切，如「不如归去」，游子闻之更思归，李白《宣城见杜鹃花》「一叫一回肠一断，三春三月忆三巴」，正写杜鹃啼声的思归之意；「休向」二字，写劝其莫啼，正是思归之深的写照。这些意象，或写寒食、或写萋萋春草、或写杨柳、或写杜鹃啼归，皆围绕寒食思归这一核心，织成一张含情的情网，正是无名氏此诗「以典写情」的特点。
Commentary
This poem is one of the anonymous works of the traveler's songs of the Song, quoted for the freshness of its scene and the cuckoo of its close. The grass of the Cold Food, and the cuckoo crying toward the ears, are among the admired passages of the poem. Critics praise the poem's homesickness: the season gathered in the scene, to the close's cuckoo.
读此诗，最值得注意的是「早是有家归未得，杜鹃休向耳边啼」所写出的「思归之深」。前两句写寒食春景：近寒食、雨草萋萋、麦苗沾雨、杨柳映堤——那是明媚的春色，本是寒食祭扫、家人团聚的时节。然而三句忽然一转，「早是有家归未得」——那「有家归未得」的苦楚，正是羁旅之人的切肤之痛：不是无家，而是有家难归。这一转，是全诗的关键：明媚的春景，反衬有家难归的苦楚，正是「乐景写哀」——春色愈美，归思愈切。而末句「杜鹃休向耳边啼」，更是「以声写情」的极致：杜鹃啼声如「不如归去」，本是催人思归之声，词人却劝其「休向耳边啼」——不是不爱听，而是不敢听，那「不如归去」的啼声，一声声催得游子心碎。这一「休向」，写尽思归之深：正因思归太切，才怕那啼声相催。全诗无一字写「愁」，而「有家归未得」的苦楚、「杜鹃休向」的深情，处处是愁。这种「乐景写哀」「以声写情」的含蓄笔法，正是此诗传诵千古的原因——寒食的春景愈明媚，思归的情思愈深挚，那「休向耳边啼」的劝语，正是深挚情思最动人的表达。
Prosody
Line by line
近寒食雨草萋萋
Near the Cold Food Feast, rain falls and the grass grows lush.
临近寒食，春雨连绵，野草萋萋。
As the Cold Food Festival draws near, spring rain falls and the wild grass grows thick.
这一句是此诗的起笔，写寒食将近的春雨春草，是此诗乐景写哀的开端。「近寒食」，写临近寒食——寒食为清明前一两天，古俗禁火冷食，为祭扫之节，是游子思归的节令，「近寒食」写寒食将临；「雨草萋萋」，写春雨连绵、野草萋萋——「雨」写春雨，「草萋萋」写野草之茂盛，正是寒食时节的春雨春草。以「近寒食」写时令，比直写「寒食节」更见节令将临的意味——寒食将临，正该祭扫团聚，而词人却羁旅在外；「草萋萋」三字，暗含「王孙游兮不归，春草生兮萋萋」的思归之意。这一起笔，以寒食时节的春雨春草写春景，正是「乐景写哀」的开端——春色愈美，思归愈切。
The opening writes the spring rain and grass as the Cold Food Feast approaches, the start of this poem's 'joyful scenery writing sorrow.' 'As the Cold Food Feast draws near' — Cold Food falls a day or two before Qingming, when the old custom forbade fire and cold food was eaten, a feast of graves, the season when a traveler longs to return; 'draws near' writes the feast at hand. 'Spring rain falls and the wild grass grows thick' — 'rain' the spring rain, 'lush grass' its rank growth, precisely the rain and grass of Cold Food. Saying 'draws near' the Cold Food rather than naming the feast shows the season arriving — Cold Food at hand is the time for graves and family, yet the poet is traveling abroad; the three words 'lush grass' carry the homesickness of 'the wandering son returns not, spring grass grows lush.' This opening writes spring scenery through the rain and grass of Cold Food, precisely the start of 'joyful scenery writing sorrow' — the fairer the spring, the keener the longing to return.
早是有家归未得
Long ago, though I have a home, I could not return.
早就有家难归。
It has long been so: I have a home yet cannot go back.
这一句是全诗由写景转入抒情的枢纽，写有家难归的苦楚，是此诗情感的所在。「早是」，写本来、早已——「早是」二字，写那「有家归未得」的苦楚，不是今日才有，而是早已如此；「有家归未得」，写有家而难归——不是无家，而是有家难归，「归未得」写归期无望。以「有家归未得」写羁旅之苦，比直写「思乡」更见具体与无奈——那有家难归的苦楚，正是羁旅之人的切肤之痛；「早是」二字，写那苦楚的久远与深沉。这一句，是此诗由写景转入抒情的枢纽，也是「杜鹃休向耳边啼」的铺垫——正因有家归未得，才怕那「不如归去」的啼声相催。以「归未得」写归期无望，正是羁旅诗「归思」的核心。
This line is the hinge where the poem turns from scenery to lyric, writing the pain of having a home yet unable to return, the place of its feeling. 'Long ago' means already, from of old — these two words write that the pain of 'having a home yet unable to return' is not of today but has long been so. 'I have a home yet cannot go back' writes having a home yet unable to return — not homeless, but home-bound impossible; 'cannot go back' writes the hopelessness of the return date. Writing the hardship of travel through 'having a home yet unable to return' is more concrete and helpless than a plain 'homesick' — that piercing pain of home-bound impossible is the very flesh-wound of a traveler; 'long ago' writes its length and depth. This line is the hinge from scenery to feeling and the preparation for 'cuckoo, cease your crying beside my ear' — precisely because he has a home yet cannot return, he fears the 'better return' cry urging him on. Writing the hopeless return date through 'cannot go back' is the core of the traveler poem's 'longing to return.'
杜鹃休向耳边啼
Cuckoo, do not cry beside my ear.
杜鹃休要向耳边啼叫。
Cuckoo, cease your crying beside my ear.
这一句是全诗的结穴，以杜鹃啼归写思归之深，是此诗以声写情的最高点。「杜鹃」，用「杜鹃啼归」之典——杜鹃即子规，相传为蜀王杜宇之魂所化，啼声凄切，如「不如归去」，游子闻之更思归；「休向耳边啼」，写休要向耳边啼叫——「休向」写劝其莫啼，「耳边」写啼声之近、之切。以「杜鹃啼归」写思归，比直写「思归」更见含蓄与深切——那「不如归去」的啼声，一声声催得游子心碎；「休向耳边啼」的劝语，不是不爱听，而是不敢听——正因思归太切，才怕那啼声相催。这一结句，以声写情、含蓄深沉，是此诗思归之深的最高点，也是「有家归未得」的必然结局——杜鹃啼归，正催有家难归之人。
This line is the knot of the poem, writing the depth of longing to return through the cuckoo's call, the highest point of 'writing feeling through sound.' 'Cuckoo' uses the allusion of 'the cuckoo crying return' — the cuckoo, or zigui, is said to be the transformed soul of Du Yu, king of Shu, whose cry is mournful, like 'better return,' making the traveler long for home still more. 'Do not cry beside my ear' writes begging it not to cry — 'do not' the plea to stop, 'beside my ear' the closeness and urgency of the cry. Writing homesickness through the cuckoo's 'return' is more restrained and deep than a plain 'longing to return' — that 'better return' cry, call by call, breaks the traveler's heart; the plea 'do not cry beside my ear' is not that he dislikes hearing it but that he dare not — precisely because longing to return is so keen, he fears the cry urging him on. This close writes feeling through sound, restrained and deep, the highest point of the poem's longing and the inevitable end of 'having a home yet unable to return' — the cuckoo crying 'return' urges on the one who has a home yet cannot go.
Study
Word focus
Related Reading
Compare this related work with the poem above through theme, imagery, tone, and emotional movement.
王维《杂诗·君自故乡来》「君自故乡来，应知故乡事。来日绮窗前，寒梅著花未」，写遇故乡来人问寒梅之讯，是思乡诗的名篇；此诗「早是有家归未得，杜鹃休向耳边啼」，同样写思乡之情。一写「寒梅著花未」的问讯，一写「杜鹃休向耳边啼」的劝语；王维以问寒梅写思乡之微，此诗以杜鹃啼归写思乡之切。并读两作，可见「杂诗」一体在唐诗中的思乡传统，也可见思乡之情的微与切——王维的含蓄一问，与此诗的深沉一叹，正是思乡诗的两种极致。
寒食 Cold Food Day 韩翃 · 同为寒食之作，一写春城飞花的盛世风华一写寒食雨草的羁旅思归，寒食母题互为映照 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
韩翃《寒食》「春城无处不飞花，寒食东风御柳斜。日暮汉宫传蜡烛，轻烟散入五侯家」，写寒食节的京城风华，是咏寒食的名篇；此诗「近寒食雨草萋萋，著麦苗风柳映堤。早是有家归未得，杜鹃休向耳边啼」，同样写寒食时节。一写「春城无处不飞花」的盛世风华，一写「杜鹃休向耳边啼」的羁旅思归；韩翃写京城寒食的繁华，此诗写羁旅寒食的思归。并读两作，可见「寒食」这一母题在唐诗中的两种情调，也可见同一节令在盛世与羁旅之间的不同心境。
宣城见杜鹃花 Seeing Azaleas at Xuancheng 李白 · 同为杜鹃啼归的思乡之作，一写蜀国子规的忆三巴一写杜鹃耳边的劝莫啼，杜鹃思乡互为映照 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
李白《宣城见杜鹃花》「蜀国曾闻子规鸟，宣城还见杜鹃花。一叫一回肠一断，三春三月忆三巴」，写见杜鹃花而忆蜀中子规鸟的思乡之情，是杜鹃思乡的名篇；此诗「早是有家归未得，杜鹃休向耳边啼」，同样写杜鹃啼声的思归。一写「一叫一回肠一断」的忆乡，一写「杜鹃休向耳边啼」的劝莫啼；李白以子规鸟的啼声写忆三巴之深，此诗以杜鹃的啼声写思归之切。并读两作，可见「杜鹃啼归」这一母题在唐诗中的思乡传统，也可见两位诗人以杜鹃写思乡的异曲同工。