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唐 Tang · 诗 Poem

过山农家

Visiting a Mountain Farmhouse

顾况

Gu Kuang

板桥人渡泉声，茅檐日午鸡鸣。
莫嗔焙茶烟暗，却喜晒谷天晴。

Across the plank bridge a man crosses, and the spring water murmurs; under the thatched eaves at noon the cock is crowing.
Do not be angry that the tea-roasting smoke is dim — be glad instead that the sun is out to dry the grain.
Listen

Meaning

Visiting a mountain farm, the poet hears the spring across the plank bridge and the noon cock under the thatch. The farmer's words — don't mind the smoke of roasting tea, rejoice in the sunshine for drying the grain — turn a smoky kitchen into a picture of honest rural contentment and warm hospitality.

板桥人渡泉声，茅檐日午鸡鸣。莫嗔焙茶烟暗，却喜晒谷天晴。

Appreciation

[Plain Paraphrase] Someone crosses the plank bridge; the spring water murmurs; at noon under the thatched eaves the cock crows. Don't be angry at the smoke dimming the tea-roasting; be glad the sky is clear for drying the grain. [Six-Character Form] The rare six-character quatrain gives two images per line — sound and sight, bridge and eaves — a fresh, brisk rhythm unlike the five- or seven-character norm. [Conversational Warmth] The last couplet turns into the farmer's voice: apologizing for the smoke and rejoicing in the sun, it captures rural hospitality and the year's hopes in plain speech.

【白话串讲】 顾况写《过山农家》：“板桥人渡泉声，茅檐日午鸡鸣”——“莫嗔焙茶烟暗，却喜晒谷天晴”——他过山农家——却喜晒谷天晴。 【意象与手法】 “板桥人渡泉声，茅檐日午鸡鸣”写板桥泉声、茅檐鸡鸣；“莫嗔焙茶烟暗”写焙茶；结以“却喜晒谷天晴”写晒谷天晴。清新自然。 【情感与主旨】 顾况写过山农家之作，写板桥泉声、茅檐鸡鸣的山村景致与焙茶晒谷的农家生活，展现山村风物，是田园诗中的名篇。 【名句点睛】 常考“板桥人渡泉声，茅檐日午鸡鸣”写山村景致；“莫嗔焙茶烟暗，却喜晒谷天晴”写农家生活。

Background

Gu Kuang (c. 727–c. 820), courtesy name Pengweng and self-styled the Perfected One of Huayang, was from Haiyan in Suzhou and one of the mid-Tang poets known for an unconventional, playful streak. Visiting a mountain farm, he wrote this six-character quatrain (liuyan jueju) — a rare and difficult form, since six-character lines easily turn plodding, and Gu Kuang's success here made the poem a model of the form.

《过山农家》为唐代诗人顾况所作诗。顾况（约727—约820），字逋翁，号华阳真逸，苏州海盐（今浙江海盐）人，唐代诗人。此诗写田园写景，为过山农之作。诗中「板桥人渡泉声，茅檐日午鸡鸣」写板桥人渡泉声，茅檐日午鸡鸣；「莫嗔焙茶烟暗，却喜晒谷天晴」写莫嗔焙茶烟暗，却喜晒谷天晴。顾况此诗以田园写景、却喜晒谷天晴写其田园之情，清新自然，是顾况诗中的名篇。此篇《过山农家》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《过山农家》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《过山农家》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。

Art

The poem's freshness comes from its form and its ear. The six-character line carries exactly two images per line: 'plank bridge — man crossing — spring's murmur', 'thatched eaves — noon — cock crow', so sight and sound interleave in a steady, walking rhythm. The second couplet turns into direct speech: the farmer first excuses the smoky tea-roasting, then rejoices in the sunny day for drying grain — one couplet containing apology, reassurance, and hope. Nothing is idealized; the poem's charm is that the farm is heard and felt as it is.

此诗艺术上以「清新自然、以景写情」见长。全诗共四句，由板桥人渡泉声而莫嗔焙茶烟暗。起「板桥人渡泉声，茅檐日午鸡鸣」写板桥人渡泉声：板桥人渡泉声，茅檐日午鸡鸣；结「莫嗔焙茶烟暗，却喜晒谷天晴」写莫嗔焙茶烟暗：莫嗔焙茶烟暗，却喜晒谷天晴。全诗以景写情，由板桥人渡泉声而却喜晒谷天晴，清新自然，是顾况诗中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。

Allusions

The poem uses few literary allusions; its texture is rural custom. 'Roasting tea' refers to the Tang practice of firing tea leaves before brewing — the dim smoke is a sign the host is preparing tea for the guest, so the 'apology' is really hospitality. 'Drying grain' refers to sunning the harvested rice, the autumn task on which the year's food depends. The 'plank bridge' and 'thatched eaves' belong to the pastoral vocabulary of the tradition from Tao Yuanming onward, and the cock's crow at noon marks the unhurried time of country life.

诗中「板桥人渡泉声茅檐日午鸡鸣」「莫嗔焙茶烟暗却喜晒谷天晴」等语，皆含典故故实。「板桥人渡泉声茅檐日午鸡鸣」写板桥人渡泉声茅檐日午鸡鸣；「莫嗔焙茶烟暗却喜晒谷天晴」写莫嗔焙茶烟暗却喜晒谷天晴。诗人以板桥、茅檐等语入诗，不着痕迹，而把田园写景之情写得真切可感，是善于熔铸典故的体现。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。

Commentary

This poem is prized as the finest example of the six-character quatrain in the Tang. Critics note that six-character lines risk clumsiness, yet Gu Kuang's couplets are crisp and full of sound — the spring, the cock, the smoke, the sun — and that the closing couplet's turn into the farmer's plain speech gives the poem rare warmth. It is anthologized as a model of pastoral simplicity and is often contrasted with the elaborate pastoral of Wang Wei and Meng Haoran.

这首《过山农家》，是顾况写田园写景之作，写板桥人渡泉声、茅檐日午鸡鸣、莫嗔焙茶烟暗、却喜晒谷天晴之情，清新自然。起「板桥人渡泉声，茅檐日午鸡鸣」——板桥人渡泉声，茅檐日午鸡鸣。写板桥人渡泉声：板桥人渡泉声、茅檐日午鸡鸣——人渡泉声、日午鸡鸣；结「莫嗔焙茶烟暗，却喜晒谷天晴」——莫嗔焙茶烟暗，却喜晒谷天晴。写莫嗔焙茶烟暗：莫嗔焙茶烟暗、却喜晒谷天晴——焙茶烟暗、晒谷天晴。这「莫嗔焙茶烟暗，却喜晒谷天晴」，是全诗之结：以却喜晒谷天晴写其田园。全诗清新自然，以景写情，正是顾况诗中的名篇。综观全诗，情真、景切、理深，三者浑融无迹，故能于短短数语之中寄无限深意，令人百读不厌。其含蓄蕴藉之处，正是中国古典诗歌以少总多、言有尽而意无穷的美学精神的生动体现。综观全诗，情真、景切、理深，三者浑融无迹，故能于短短数语之中寄无限深意，令人百读不厌。其含蓄蕴藉之处，正是中国古典诗歌以少总多、言有尽而意无穷的美学精神的生动体现。

Prosody

Form Six-character quatrain (liuyan jueju)诗（六言绝句）
Rhyme Four lines rhyming on ming (crow) and qing (clear) of the geng-qing group. The bright, ringing rhyme suits the poem's fresh, morning-clear mood.此诗为六言绝句，共四句。押韵：「鸣」「晴」押庚青部韵。诗体依六言绝句而定，句式整齐，音节短促而清亮，正与写田园写景的清新自然相称，也见其以六言写田园的新颖。
Tone pattern The six-character line's two-beat structure gives an even, trotting rhythm unlike the rolling five-character or flowing seven-character line — here it mimics the visitor's footsteps along the bridge and path.句式上，「板桥人渡泉声，茅檐日午鸡鸣」写板桥人渡泉声，音节明快；结「莫嗔焙茶烟暗，却喜晒谷天晴」写莫嗔焙茶烟暗，音节清亮。全诗音节由明快而清亮，正合六言「新颖」之妙，读来如田园写景、却喜晒谷天晴之音，清新而动人。
Reading note The six-character quatrain is rare because the even line length risks monotony; Gu Kuang avoids it by alternating sound and sight in each line and ending in direct speech. The result is one of the most successful six-character poems in the Tang canon.此诗为六言绝句，是顾况写田园写景之作，也是其诗中的名篇。全诗的艺术特色在于「清新自然、以景写情」：「板桥人渡泉声，茅檐日午鸡鸣」写板桥人渡泉声、「莫嗔焙茶烟暗，却喜晒谷天晴」写莫嗔焙茶烟暗。全诗清新自然，以景写情。尤为精妙者，是「板桥人渡泉声，茅檐日午鸡鸣」写尽山家之景；而「莫嗔焙茶烟暗，却喜晒谷天晴」写尽农事之喜，正是顾况诗「清新自然」的典范，为历代选本所常收。《过山农家》一诗之所以读来声情并茂，正在于诗人以声韵配合情思、以节奏烘托意境，音节之长短、平仄之起伏，皆与诗意相为表里，此亦可见中国古典诗歌声律之美与匠心之工。

Line by line

板桥人渡泉声，茅檐日午鸡鸣。

Across the plank bridge a man crosses, and the spring water murmurs; under the thatched eaves at noon the cock is crowing.

板桥人渡泉声，茅檐日午鸡鸣。

On the wooden bridge a man crosses amid the sound of springs; at the thatched eave, midday, a cock crows.

首句写板桥人渡泉声，起笔即见其桥。「板桥人渡泉声」写板桥人渡泉声，「板桥」写板桥、「人渡泉声」写人渡泉声；「茅檐日午鸡鸣」写茅檐日午鸡鸣，「茅檐」写茅檐、「日午鸡鸣」写日午鸡鸣。两句一写板桥人渡泉声、一写茅檐日午鸡鸣，以板桥人渡泉声写人渡泉声、以茅檐日午鸡鸣写日午鸡鸣，写尽板桥人渡泉声、茅檐日午鸡鸣之情。以桥起兴，清新而自然，是「以桥起兴」的妙笔。

The opening line writes the wooden bridge, a crossing man, the sound of springs, then the thatched eave, midday, a crowing cock; rising through the bridge, it is fresh and natural.

莫嗔焙茶烟暗，却喜晒谷天晴。

Do not be angry that the tea-roasting smoke is dim — be glad instead that the sun is out to dry the grain.

莫嗔焙茶烟暗，却喜晒谷天晴。

Do not mind the smoke darkening the tea-roasting; rejoice that the sky is clear for drying the grain.

结句写莫嗔焙茶烟暗，是全诗立意的落点。「莫嗔焙茶烟暗」写莫嗔焙茶烟暗，「莫嗔」写莫嗔、「焙茶烟暗」写焙茶烟暗；「却喜晒谷天晴」写却喜晒谷天晴，「却喜」写却喜、「晒谷天晴」写晒谷天晴。两句一写莫嗔焙茶烟暗、一写却喜晒谷天晴，以莫嗔焙茶烟暗写焙茶烟暗、以却喜晒谷天晴写晒谷天晴，写尽莫嗔焙茶烟暗、却喜晒谷天晴之情。以喜写情，清新而自然，是全诗最动人处，也是「以喜写情」的点睛之笔。

The closing line writes 'do not mind' the tea-roasting smoke, but 'rejoice' at the clear sky for drying grain; through joy it writes the feeling, the poem's most moving point — the farmer's welcome, half apology for the smoke, half delight in the fine weather.

Study

Word focus

板桥 The plank bridge; the entry into the farm's world — its crossing marks the visitor's arrival, and the spring's murmur accompanies him. 「板桥」写板桥人渡泉声，是写板桥之态的关键。「板桥人渡泉声」着一「板桥」，写板桥——着一「板桥」，写板桥人渡泉声，见其桥之板。两字写尽板桥之态，是「以词写桥」的妙笔。「板桥」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
茅檐 The thatched eaves; the mark of a poor but self-sufficient farmhouse, its noon crowing showing the unhurried time of country life. 「茅檐」写茅檐日午鸡鸣，是写茅檐之态的关键。「茅檐日午鸡鸣」着一「茅檐」，写茅檐——着一「茅檐」，写茅檐日午鸡鸣，见其檐之茅。两字写尽茅檐之态，是「以词写檐」的点睛之词。「茅檐」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
焙茶 Roasting tea leaves over fire before brewing; the dim smoke is really a sign the host is preparing tea for the guest, so the apology is hospitality. 「焙茶」写莫嗔焙茶烟暗，是写焙茶之态的关键。「莫嗔焙茶烟暗」着一「焙茶」，写焙茶——着一「焙茶」，写莫嗔焙茶烟暗，见其茶之焙。两字写尽焙茶之态，是「以词写茶」的点睛之词。「焙茶」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
晒谷 Drying the harvested grain in the sun; the autumn task on which the year's food depends, and the source of the farmer's joy in the clear sky. 「晒谷」写却喜晒谷天晴，是写晒谷之态的关键。「却喜晒谷天晴」着一「晒谷」，写晒谷——着一「晒谷」，写却喜晒谷天晴，见其谷之晒。两字写尽晒谷之态，是「以词写谷」的点睛之词。「晒谷」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

山园小梅 Little Plums of the Mountain Garden 林逋 · 同写田园清雅、超然物外，一写疏影横斜水清浅暗香浮动月黄昏、一写板桥人渡泉声茅檐日午鸡鸣，皆于田园之中见清雅 Both write pastoral refinement, one through plum blossoms, one through farm sounds.

Lin Bu's 'Sparse shadows slant across the clear shallows; hidden fragrance floats in the evening moon' cultivates an almost sterile elegance; Gu Kuang's farm is smoky, crowing, and alive. Two different ideals of the pastoral.

林逋《山园小梅》「疏影横斜水清浅，暗香浮动月黄昏」，写梅之清雅、田园之趣，是宋诗咏物的绝唱；顾况《过山农家》则以「板桥人渡泉声，茅檐日午鸡鸣」「莫嗔焙茶烟暗，却喜晒谷天晴」写人渡泉声、晒谷天晴。两诗同写田园清雅、超然物外：一写疏影横斜水清浅暗香浮动月黄昏、以梅写清雅，一写板桥人渡泉声茅檐日午鸡鸣、以农事写田园；一为林逋之清逸、一为顾况之清新，并读正可见诗写「田园清雅」的两种笔法，皆于田园之中见清雅。

 浣溪沙·一曲新词酒一杯 Huanxi Sha: A Verse of a New Song over a Cup of Wine 晏殊 · 同写田园闲适、以景寄情，一写无可奈何花落去、一写板桥人渡泉声茅檐日午鸡鸣，皆于田园之中见闲适 Both find feeling in a garden scene, one melancholy, one warmly plain.

Yan Shu's 'Helpless the flowers fall; familiar the returning swallows' mourns time's passage in a scholar's garden; Gu Kuang's farm rejoices in the sun and the grain. The scholar's melancholy versus the farmer's contentment.

晏殊《浣溪沙·一曲新词酒一杯》「无可奈何花落去，似曾相识燕归来」，写田园闲适、感怀惜时，是宋词小令的名篇；顾况《过山农家》则以「板桥人渡泉声，茅檐日午鸡鸣」「却喜晒谷天晴」写人渡泉声、晒谷天晴。两诗同写田园闲适、以景寄情：一写无可奈何花落去、以花落燕归写惜时，一写板桥人渡泉声茅檐日午鸡鸣、以农事写闲适；一为晏殊之温润、一为顾况之清新，并读正可见诗写「田园闲适」的两种笔法，皆于田园之中见闲适。