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唐 Tang · 诗 Poem

狂夫

The Madman

杜甫

Du Fu

万里桥西一，草堂，百花潭水即沧浪。
风含翠筿娟娟静，雨裛红蕖冉冉香。
厚禄故人书断绝，恒饥稚子色凄凉。
欲填沟壑唯疎放，自笑狂夫老更狂。

West of Wanli Bridge stands a single thatched cottage; the water of Baihua Pond serves as my Canglang.
Wind holds the green bamboo in delicate stillness; rain drenches the red lotus with a slow fragrance.
Letters from well-salaried old friends have long ceased; my perpetually hungry children wear a woeful look.
Ready to fill the ravines, I only grow more free and easy; the madman laughs at himself — wilder still in old age.
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Meaning

In this self-portrait from his thatched cottage outside Chengdu, Du Fu shows two worlds: the cottage's serene beauty — bamboo held still by wind, red lotus wet with rain — and his household's destitution, with old friends silent and children hungry. Facing starvation ('ready to fill the ravines'), he answers with defiant ease: the 'madman' laughs at himself and grows wilder in old age. The poem's theme is poverty met with unbroken dignity and uninhibited freedom of spirit.

万里桥西一，草堂，百花潭水即沧浪。风含翠筿娟娟静，雨裛红蕖冉冉香。厚禄故人书断绝，恒饥稚子色凄凉。欲填沟壑唯疎放，自笑狂夫老更狂。

Appreciation

[Plain Paraphrase] West of Wanli Bridge stands his lone thatched hut; the pool of Baihua Tan is his Canglang stream, the waters of the recluse. Wind cradles the green bamboo in a delicate hush; rain soaks the red lotus, whose fragrance drifts up slowly. Meanwhile the rich old friends have stopped writing, and the children, always hungry, look wretched. He is old enough to die in any ditch, yet his only response is to be more unbuttoned and free — the 'madman' laughs at himself: wilder than ever in his old age. [Structure] The four couplets alternate beauty and misery: place, scenery, hardship, and finally the defiant laugh, so that the closing couplet overturns the gloom of the third. [Imagery] The still bamboo and fragrant lotus are not decoration but the madman's Canglang — poverty's landscape made radiant. The 'wild' laugh at the end converts destitution into a triumph of spirit.

【白话串讲】 杜甫写《狂夫》：“万里桥西一草堂，百花潭水即沧浪”——“风含翠筿娟娟静，雨裛红蕖冉冉香”——“厚禄故人书断绝，恒饥稚子色凄凉”——“欲填沟壑唯疎放，自笑狂夫老更狂”——他写狂夫——自笑狂夫老更狂。 【意象与手法】 “万里桥西一草堂，百花潭水即沧浪”写草堂沧浪；“风含翠筿娟娟静，雨裛红蕖冉冉香”写风竹雨荷；“厚禄故人书断绝，恒饥稚子色凄凉”写故人断书、稚子恒饥；结以“欲填沟壑唯疎放，自笑狂夫老更狂”写狂夫自笑。旷达自况。 【情感与主旨】 杜甫写自况咏怀之作，写草堂美景与故人断书、稚子恒饥的困顿，以“自笑狂夫老更狂”写身处困顿而疏放的旷达，是杜甫七律中的名篇。 【名句点睛】 常考“风含翠筿娟娟静，雨裛红蕖冉冉香”写草堂美景；“欲填沟壑唯疎放，自笑狂夫老更狂”写狂夫自笑。

Background

Du Fu (712–770) wrote 'The Madman' in his Chengdu period (759–765), living in the thatched cottage he built beside Wanli Bridge and the Baihua Pond in the west of the city — the cottage now preserved as the Du Fu Thatched Cottage Museum. Fleeing the An Lushan Rebellion, he had settled in Sichuan under the protection of the local governor Yan Wu, but his means remained meager, his family often hungry, and his powerful friends' letters had ceased. The poem takes its title from the poet's self-description as a 'madman' (kuangfu) — the unrestrained, unconventional man of the Confucian tradition, as in the 'madman of Chu' of the Analects. It is among Du Fu's most celebrated seven-character regulated verses.

《狂夫》为唐代诗人杜甫所作诗。杜甫（712—770），字子美，号少陵野老，巩县人，唐代诗人。此诗写自况咏怀，为咏草堂之作。诗中「万里桥西一，草堂，百花潭水即沧浪」写万里桥西一，草堂，百花潭水即沧浪；「风含翠筿娟娟静，雨裛红蕖冉冉香」写风含翠筿娟娟静，雨裛红蕖冉冉香；「厚禄故人书断绝，恒饥稚子色凄凉」写厚禄故人书断绝，恒饥稚子色凄凉；「欲填沟壑唯疎放，自笑狂夫老更狂」写欲填沟壑唯疎放，自笑狂夫老更狂。杜甫此诗以自况咏怀、自笑狂夫老更狂写其咏怀之情，旷达自况，是杜甫诗中的名篇。此篇《狂夫》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《狂夫》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 art is 'self-portrait in ease, feeling expressed through the cottage.' Its eight regulated lines alternate two worlds in perfect parallel couplets: the second couplet paints the cottage's beauty (wind and bamboo, rain and lotus, stillness and fragrance), while the third paints the household's misery (silent letters, hungry children). The contrast is the design: the more beautiful the scenery, the sharper the poverty it has to redeem. The closing couplet then breaks the pattern with a laugh — 'the madman laughs at himself — wilder still in old age' — so that the poem ends not in lament but in defiance. 'Ready to fill the ravines' (about to die of starvation by the roadside), stated flatly, is answered flatly with 'only more free and easy': this calm is the poem's greatness.

此诗艺术上以「旷达自况、以草堂写情」见长。全诗共八句四联，由万里桥西一而风含翠筿娟娟静而厚禄故人书断绝。起「万里桥西一，草堂，百花潭水即沧浪」写万里桥西一：万里桥西一，草堂，百花潭水即沧浪；「风含翠筿娟娟静，雨裛红蕖冉冉香」写风含翠筿娟娟静：风含翠筿娟娟静，雨裛红蕖冉冉香；「厚禄故人书断绝，恒饥稚子色凄凉」写厚禄故人书断绝：厚禄故人书断绝，恒饥稚子色凄凉；结「欲填沟壑唯疎放，自笑狂夫老更狂」写自笑狂夫老更狂：欲填沟壑唯疎放，自笑狂夫老更狂。全诗以草堂写情，由万里桥西一而自笑狂夫老更狂，旷达自况，是杜甫诗中的名篇。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。

Allusions

'Canglang' (canglang) alludes to the 'Canglang' song in the Mencius: when the water is clear I wash my cap-strings, when muddy I wash my feet — the recluse's adaptability and purity; Du Fu calls the humble Baihua Pond his Canglang, dignifying poverty with the language of reclusion. 'Wanli Bridge' and 'Baihua Pond' are real landmarks of western Chengdu, sites of his thatched cottage. 'Ready to fill the ravines' (yu tian gouhe) means to die starving by the roadside and fill the ditches — a stark formula for destitution. 'Madman' (kuangfu) echoes the Confucian ideal of the kuang, the unrestrained, unconventional advocate, as in the 'madman of Chu' who sang before Confucius; Du Fu claims the name half in jest, wholly in self-definition: a man too unbought to fit the world.

诗中「万里桥西一草堂百花潭水即沧浪」「风含翠筿娟娟静雨裛红蕖冉冉香」「厚禄故人书断绝恒饥稚子色凄凉」「欲填沟壑唯疎放自笑狂夫老更狂」等语，皆含典故故实。「万里桥西一草堂百花潭水即沧浪」用沧浪之典（沧浪写沧浪之水），写万里桥西一草堂百花潭水即沧浪；「风含翠筿娟娟静雨裛红蕖冉冉香」写风含翠筿娟娟静雨裛红蕖冉冉香；「厚禄故人书断绝恒饥稚子色凄凉」写厚禄故人书断绝恒饥稚子色凄凉；「欲填沟壑唯疎放自笑狂夫老更狂」写欲填沟壑唯疎放自笑狂夫老更狂。诗人用沧浪之典入诗，不着痕迹，而把自况咏怀之情写得真切可感，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。

Commentary

'The Madman' is one of Du Fu's best-loved poems, prized for its union of beauty, destitution, and defiant gaiety. Critics have especially praised the couplet 'wind holds the green bamboo in delicate stillness; rain drenches the red lotus with a slow fragrance' as a supreme achievement of regulated parallelism — stillness against fragrance, wind against rain — while noting that its beauty stands in severe contrast to the next couplet's hungry children. The closing couplet, 'the madman laughs at himself — wilder still in old age,' is read as the poem's soul: poverty faced with a laugh, dignity preserved through self-mockery. Commentators trace the title to the Confucian kuang, the unconventional man, and see in the poem the essence of Du Fu's character — 'in extremity, only more uninhibited' — for which later ages loved him both as the 'Sage of Poetry' and as a man.

这首《狂夫》，是杜甫写自况咏怀之作，写万里桥西一、风含翠筿娟娟静、厚禄故人书断绝、自笑狂夫老更狂之情，旷达自况。起「万里桥西一，草堂，百花潭水即沧浪」——万里桥西一，草堂，百花潭水即沧浪。写万里桥西一：万里桥西一、草堂、百花潭水即沧浪——桥西一、即沧浪；「风含翠筿娟娟静，雨裛红蕖冉冉香」——风含翠筿娟娟静，雨裛红蕖冉冉香。写风含翠筿娟娟静：风含翠筿娟娟静、雨裛红蕖冉冉香——娟娟静、冉冉香；「厚禄故人书断绝，恒饥稚子色凄凉」——厚禄故人书断绝，恒饥稚子色凄凉。写厚禄故人书断绝：厚禄故人书断绝、恒饥稚子色凄凉——书断绝、色凄凉；结「欲填沟壑唯疎放，自笑狂夫老更狂」——欲填沟壑唯疎放，自笑狂夫老更狂。写自笑狂夫老更狂：欲填沟壑唯疎放、自笑狂夫老更狂——唯疎放、老更狂。这「欲填沟壑唯疎放，自笑狂夫老更狂」，是全诗之结：以自笑狂夫老更狂写其咏怀。全诗旷达自况，以草堂写情，正是杜甫诗中的名篇。

Prosody

Form Seven-character regulated verse (qilü): eight lines in four couplets with strict parallelism in the middle couplets.诗（七言律诗）
Rhyme The rhyme words 'lang, xiang, liang, kuang' all belong to the yang rhyme group of the level tone, with the first line rhyming; the broad, ringing rhyme supports the poem's defiant, open close.此诗为七言律诗，共八句四联。押韵：「浪」「香」「凉」「狂」押阳部韵。平仄相间，对仗工整，正与写自况咏怀的旷达自况相称，也见其以律诗写咏怀的凝练。
Tone pattern The regulated patterns are strictly observed, with the middle couplets in meticulous antithesis (wind and bamboo against rain and lotus, letters and friends against children and hunger); the music is calm and measured until the closing couplet, whose rhythm opens out with the laugh, matching the sudden release of 'wilder still in old age.'句式上，「万里桥西一，草堂，百花潭水即沧浪」写万里桥西一，音节旷达；「风含翠筿娟娟静，雨裛红蕖冉冉香」写风含翠筿娟娟静，音节清丽；「厚禄故人书断绝，恒饥稚子色凄凉」写厚禄故人书断绝，音节低回；结「欲填沟壑唯疎放，自笑狂夫老更狂」写自笑狂夫老更狂，音节高亢。全诗音节随情起伏，由旷达而清丽、由低回而高亢，正合律诗「凝练」之妙，读来如自况咏怀、自笑狂夫老更狂之音，旷达而动人。
Reading note A seven-character regulated verse that is also a self-portrait, in which cottage beauty and household destitution are held in strict parallel, then overturned by the closing laugh. Its art is 'self-portrait in ease, feeling expressed through the cottage': the Canglang pool dignifies poverty, the still bamboo and fragrant lotus redeem it, and 'wilder still in old age' crowns it. The poem is the classic expression of Du Fu's character — in extremity, only more uninhibited.此诗为七言律诗，是杜甫写自况咏怀之作，也是其诗中的名篇。全诗的艺术特色在于「旷达自况、以草堂写情」：「万里桥西一，草堂，百花潭水即沧浪」写万里桥西一、「风含翠筿娟娟静，雨裛红蕖冉冉香」写风含翠筿娟娟静、「厚禄故人书断绝，恒饥稚子色凄凉」写厚禄故人书断绝、「欲填沟壑唯疎放，自笑狂夫老更狂」写自笑狂夫老更狂。全诗旷达自况，以草堂写情。尤为精妙者，是「百花潭水即沧浪」用沧浪之典；而「自笑狂夫老更狂」写尽老更狂，正是杜甫诗「旷达自况」的典范，为历代选本所常收。《狂夫》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

万里桥西一，草堂，百花潭水即沧浪。

West of Wanli Bridge stands a single thatched cottage; the water of Baihua Pond serves as my Canglang.

万里桥西一，草堂，百花潭水即沧浪。

West of the Wanli Bridge, one thatched cottage; the waters of Hundred-Flower Pool are the Canglang of old.

起句写万里桥西一，起笔即见其草堂。「万里桥西一」写万里桥西一，「万里桥西」写万里桥西、「一」写一；「草堂，百花潭水即沧浪」用沧浪之典写草堂百花潭水即沧浪，「草堂」写草堂、「百花潭水即沧浪」写百花潭水即沧浪。一句写万里桥西一草堂百花潭水即沧浪，以万里桥西一写桥西一、以草堂百花潭水即沧浪写即沧浪，写尽万里桥西一、百花潭水即沧浪之情。以堂起兴，旷达而自况，是「以堂起兴」的妙笔。

The opening line writes west of the Wanli Bridge, the thatched cottage, the start. 'West of the Wanli Bridge, one thatched cottage' — the cottage west of the bridge; 'the waters of Hundred-Flower Pool are the Canglang of old' uses the Canglang allusion (from the Songs of Chu, the pure waters for washing the tassel). Rising through the cottage, detached and self-portraying, the start of the recluse's picture.

风含翠筿娟娟静，雨裛红蕖冉冉香。

Wind holds the green bamboo in delicate stillness; rain drenches the red lotus with a slow fragrance.

风含翠筿娟娟静，雨裛红蕖冉冉香。

Wind enfolds the green bamboos, graceful and still; rain wets the red lotuses, slowly fragrant.

此句写风含翠筿娟娟静，是全诗写翠筿之态的关键。「风含翠筿娟娟静」写风含翠筿娟娟静，「风含翠筿」写风含翠筿、「娟娟静」写娟娟静；「雨裛红蕖冉冉香」写雨裛红蕖冉冉香，「雨裛红蕖」写雨裛红蕖、「冉冉香」写冉冉香。一句写风含翠筿娟娟静雨裛红蕖冉冉香，以风含翠筿娟娟静写娟娟静、以雨裛红蕖冉冉香写冉冉香，写尽风含翠筿娟娟静、雨裛红蕖冉冉香之情。以筿写景，旷达而自况，是「以筿写景」的点睛之笔。

This line writes wind enfolding the green bamboos, the key image. 'Wind enfolds the green bamboos, graceful and still' — the gentle bamboo in the wind; 'rain wets the red lotuses, slowly fragrant' — the lotuses' slow scent in the rain. Through the bamboo it writes the scene, detached and self-portraying, the fair, quiet garden that holds the madman's quiet.

厚禄故人书断绝，恒饥稚子色凄凉。

Letters from well-salaried old friends have long ceased; my perpetually hungry children wear a woeful look.

厚禄故人书断绝，恒饥稚子色凄凉。

Rich and high old friends' letters have ceased; the hungry little children's faces are bleak.

此句写厚禄故人书断绝，是全诗写故人之态的关键。「厚禄故人书断绝」写厚禄故人书断绝，「厚禄故人」写厚禄故人、「书断绝」写书断绝；「恒饥稚子色凄凉」写恒饥稚子色凄凉，「恒饥稚子」写恒饥稚子、「色凄凉」写色凄凉。一句写厚禄故人书断绝恒饥稚子色凄凉，以厚禄故人书断绝写书断绝、以恒饥稚子色凄凉写色凄凉，写尽厚禄故人书断绝、恒饥稚子色凄凉之情。以人写情，旷达而自况，是「以人写情」的点睛之笔。

This line writes rich and high old friends' letters having ceased, the key image. 'Rich and high old friends' letters have ceased' — the wealthy friends' correspondence cut off; 'the hungry little children's faces are bleak' — the small children's hungry, forlorn faces. Through the person it writes the feeling, detached and self-portraying, the poverty beneath the garden's beauty.

欲填沟壑唯疎放，自笑狂夫老更狂。

Ready to fill the ravines, I only grow more free and easy; the madman laughs at himself — wilder still in old age.

欲填沟壑唯疎放，自笑狂夫老更狂。

About to fill the gutter, I only grow free and unruly; laughing at myself, the madman grows madder in age.

结句写自笑狂夫老更狂，是全诗立意的落点。「欲填沟壑唯疎放」写欲填沟壑唯疎放，「欲填沟壑」写欲填沟壑、「唯疎放」写唯疎放；「自笑狂夫老更狂」写自笑狂夫老更狂，「自笑狂夫」写自笑狂夫、「老更狂」写老更狂。一句写欲填沟壑唯疎放自笑狂夫老更狂，以欲填沟壑唯疎放写唯疎放、以自笑狂夫老更狂写老更狂，写尽欲填沟壑唯疎放、自笑狂夫老更狂之情。以狂写情，旷达而自况，是全诗最动人处，也是「以狂写情」的点睛之笔。

The closing line writes 'laughing at myself, the madman grows madder in age', the poem's landing. 'About to fill the gutter, I only grow free and unruly' — expecting to die and lie in the ditch, yet becoming the more unruly; 'laughing at myself, the madman grows madder in age' the self-mockery. Through madness it writes the feeling, detached and self-portraying, the poem's most moving point: the old madman, poor and abandoned, yet laughing at his own rage, the upright spirit refusing to be broken.

Study

Word focus

草堂 Thatched cottage (caotang): Du Fu's humble hut west of Chengdu; the word carries the recluse's dignity of poverty, and its grass simplicity is the poem's setting and emblem. 「草堂」写万里桥西一草堂，是写草堂之态的关键。「万里桥西一草堂」着一「草堂」，写草堂——着一「草堂」，写万里桥西一草堂，见其堂之草。两字写尽草堂之态，是「以词写堂」的妙笔。「草堂」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。
沧浪 Canglang (canglang): the waters of the Mencius's 'Canglang' song, where the recluse washes according to clarity or mud; naming the Baihua Pond 'Canglang' dignifies poverty with the language of reclusion. 「沧浪」写百花潭水即沧浪，是写沧浪之态的关键。「百花潭水即沧浪」着一「沧浪」，写沧浪——着一「沧浪」，写百花潭水即沧浪，见其浪之沧。两字写尽沧浪之态，是「以词写浪」的点睛之词。「沧浪」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。
翠筿 Green bamboo (cuixiao): the slender green bamboo 'held' by the wind in delicate stillness — the first of the two radiant images that make the cottage's poverty beautiful. 「翠筿」写风含翠筿娟娟静，是写翠筿之态的关键。「风含翠筿娟娟静」着一「翠筿」，写翠筿——着一「翠筿」，写风含翠筿娟娟静，见其筿之翠。两字写尽翠筿之态，是「以词写筿」的点睛之词。「翠筿」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。
狂夫 The madman (kuangfu): the self-styled unconventional man of the Confucian kuang tradition; applied to himself with a laugh, it turns destitution into a badge of unbought freedom. 「狂夫」写自笑狂夫老更狂，是写狂夫之态的关键。「自笑狂夫老更狂」着一「狂夫」，写狂夫——着一「狂夫」，写自笑狂夫老更狂，见其夫之狂。两字写尽狂夫之态，是「以词写夫」的点睛之词。「狂夫」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

水调歌头·明月几时有 Shui Diao Ge Tou — When Will the Bright Moon Appear? 苏轼 · 同写自况感怀、旷达，一写人有悲欢离合、一写万里桥西一草堂百花潭水即沧浪，皆于自况之中见旷达 Both works confront mutability with ease, one self-portraiture in poverty, the other philosophical reflection; one writes 'west of Wanli Bridge, a thatched cottage,' the other 'men have sorrow and joy, parting and reunion' — both find breadth within self-examination.

Su Shi's 'Shui Diao Ge Tou' ('Men have sorrow and joy, parting and reunion; the moon has its dark and clear, its waxing and waning — this has been so since antiquity') rises to philosophical breadth. Du Fu's 'The Madman' instead grounds ease in the thatched cottage's destitution — 'ready to fill the ravines, I only grow more free and easy.' Read together, one is the breadth of reflection, the other the gaiety of endurance: two faces of equanimity.

苏轼《水调歌头·明月几时有》「人有悲欢离合，月有阴晴圆缺，此事古难全」，写自况感怀、旷达，是宋词长调的名篇；杜甫《狂夫》则以「万里桥西一，草堂，百花潭水即沧浪」「自笑狂夫老更狂」写即沧浪、老更狂。两诗同写自况感怀、旷达：一写人有悲欢离合、以悲欢写离合，一写万里桥西一草堂百花潭水即沧浪、以草堂写自况；一为苏轼之旷达、一为杜甫之旷达，并读正可见诗写「自况感怀」的两种笔法，皆于自况之中见旷达。

 八声甘州·对潇潇暮雨洒江天 Ba Sheng Gan Zhou — Facing the Dusk Rain Spilling over the River Sky 柳永 · 同写潭水凝望、旷达清丽，一写对潇潇暮雨洒江天、一写万里桥西一草堂百花潭水即沧浪，皆于潭水之中见凝望 Both works gaze upon pond and water with feeling, one clear and delicate, the other broad and defiant; one faces 'the dusk rain spilling over the river sky,' the other 'the water of Baihua Pond serves as my Canglang' — both find meditation in gazing at water.

Liu Yong's 'Ba Sheng Gan Zhou' ('Facing the dusk rain spilling over the river sky, one washing clears the autumn') turns the traveler's melancholy gaze toward home. Du Fu's 'The Madman' instead turns the gaze on his own pond and cottage — 'the water of Baihua Pond serves as my Canglang' — and answers destitution with a laugh. Both gaze at water in autumn, but Liu Yong is delicate and sorrowful while Du Fu is broad and defiant.

柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天，一番洗清秋」，写潭水凝望、旷达清丽，是宋词写羁旅的名篇；杜甫《狂夫》则以「万里桥西一，草堂，百花潭水即沧浪」「风含翠筿娟娟静」写即沧浪、娟娟静。两诗同写潭水凝望、旷达清丽：一写对潇潇暮雨洒江天、以暮雨写清秋，一写万里桥西一草堂百花潭水即沧浪、以草堂写自况；一为柳永之清丽、一为杜甫之旷达，并读正可见诗写「潭水凝望」的两种笔法，皆于潭水之中见凝望。