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唐 Tang · 诗 Poem

辋川闲居赠裴秀才迪

To Pei Di While Living Idly at Wangchuan

王维

Wang Wei

田园Pastoral 友情Friendship 隐逸Hermitage

寒山转苍翠，秋水日潺湲。
倚杖柴门外，临风听暮蝉。
渡头馀落日，墟里上孤烟。
复值接舆醉，狂歌五柳前。

Cold mountains have become blue-green,
Autumn waters flow murmuring all day.
Outside my wicker gate I lean on a staff,
Hearing the evening cicadas in the wind.
At the ferry the setting sun lingers,
Above the village a lone smoke rises.
Again I meet Jieyu in his cups,
Wildly singing before the Five Willows.

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Meaning

The poet depicts the serene autumn scenery of his Wangchuan retreat and expresses his joyful friendship with Pei Di, who is as uninhibited as the ancient madman Jieyu.

寒山渐渐转作苍翠，秋水终日潺潺流淌。我倚着手杖立在柴门之外，迎着晚风静听暮蝉的鸣声。渡口边还悬着一抹落日，村落里正升起一缕孤烟。又逢你像接舆那样喝得大醉，在我的门前纵情放歌。

Appreciation

This poem combines vivid natural imagery with a quiet, leisurely mood. The couplets paint a picture of mountains, water, sunset, and smoke, while the allusions to Jieyu and the Five Willows highlight the bond between the two hermits. Wang Wei's style is simple yet profound, epitomizing the ideal of 'painting in poetry' and Zen tranquility.

【白话串讲】王维在辋川隐居，裴迪是他的邻居兼好友。一个倚杖听蝉，一个喝醉了在门前狂歌——两个文人的退休生活，让多少人羡慕。【意象与手法】全诗前六句写景，后二句写人，人景浑融。首联「寒山转苍翠、秋水日潺湲」，一写山色之变，一写水声之常，动静相生；颔联「倚杖柴门外、临风听暮蝉」，由远及近写诗人闲立之态；颈联「渡头馀落日、墟里上孤烟」，构图如画，色彩明净，深得陶渊明「暧暧远人村，依依墟里烟」之遗韵而更凝练；尾联以接舆、五柳用典写友人与自己，点出隐逸之趣与知交之乐。全诗以「闲」为眼，景幽人淡，不假雕饰而禅意自出，是王维诗中有画、画中有诗的典型。【情感与主旨】此诗作于王维晚年隐居蓝田辋川时期，赠友人裴迪。二人同隐辋川，日与唱和，情契甚深。诗中写秋日闲居所见之景与友朋相聚之乐，反映了诗人亦官亦隐、栖心释老的生活状态与淡泊心境，于清寂景物中见出对隐逸生活的自足与对友情的珍视，是一幅以禅心观照的辋川秋日图。【名句点睛】常考「渡头馀落日，墟里上孤烟」的绘画美（诗中有画）及其与陶渊明诗的承继关系；「寒山转苍翠」之「转」的炼字；以接舆、五柳用典写人的手法；动静结合、由景及人的章法。

Background

Written in Wang Wei's later years when he lived in seclusion at Wangchuan in Lantian, dedicated to his friend Pei Di. The two shared a reclusive life and often exchanged poems. This work reflects the poet's leisure and his peaceful state of mind as a hermit-official.

此诗作于王维晚年隐居蓝田辋川时期。王维（701—761），字摩诘，蒲州（今山西永济）人，开元九年进士，官至尚书右丞，世称王右丞。开元二十四年张九龄罢相、李林甫专权，王维渐生归隐之心，天宝年间在蓝田县南的辋川购得宋之问旧业，营建别业，过着亦官亦隐的生活，与裴迪等友朋往来唱和。裴迪为关中人，与王维交谊最深，同隐辋川，王维有《辋川集》二十首，裴迪皆一一和作，二人情契之深可见。辋川地处秦岭北麓，山水清幽，王维晚年于此焚香独坐、以禅诵为事，诗歌亦转入清空淡远之境。此诗即赠裴迪之作，写秋日闲居所见与二人相得之乐，正是其亦官亦隐生活的真实写照，也可见盛唐士人由仕进转向林泉的时代风气。诗人此期诗风趋于平淡，山水田园之作多以白描取胜，此诗写景之工与用情之深并见，为辋川诗中的上乘之作，后人论王维晚年诗，常以此诗与《山居秋暝》并举，以为其隐逸生活的诗化记录。

Art

The scenery is serene and the poet's mood calm, creating a painting-like effect. The contrast between the dynamic 'cold mountains turning blue-green' and the static 'autumn waters gurgling' is vivid. The couplet 'At the ferry... lone smoke rises' is particularly picturesque and still. The allusions are naturally integrated, adding depth. The poem is pure, distant, and imbued with Zen, showcasing Wang Wei's quintessential style.

全诗五律八句，前六句写景，后二句写人，由景入人，人景浑融。首联「寒山转苍翠，秋水日潺湲」：「转」字写秋山在暮色中颜色渐变的动态，「日」字写秋水终日的声响，一静一动，一色一声，写出辋川秋日的清幽而有生意。颔联「倚杖柴门外，临风听暮蝉」：由远及近，写诗人倚杖闲立、凝神听蝉之态，一个「听」字见其心境之闲静，柴门、暮蝉皆是隐者生活之象。颈联「渡头馀落日，墟里上孤烟」：如画构图，「馀」字写落日将尽、余晖犹存，「上」字写炊烟袅袅升起，一高一低，一静一动，色彩明净，明人谓此联可作一幅秋暮村居图。尾联「复值接舆醉，狂歌五柳前」：以接舆比裴迪之狂放，以五柳自况，用典写人，点出隐逸之趣与知交之欢。全诗以「闲」为眼，语淡而境远，不着议论而情味自足，是王维诗中有画、画中有诗的典型作品。尤妙者，前六句写景无一字及人，而倚杖、临风之态已见其人；后二句写人无一字及景，而门前、狂歌之景自在其中，人景互藏，两不犯复，正是王维以禅心观物、物我两忘的体现，也是此诗章法上最耐寻味之处。

Allusions

Jieyu (陆通) was a mad hermit of the Spring and Autumn period who feigned madness to avoid worldly affairs. Wang Wei compares Pei Di to Jieyu, highlighting his uninhibitedness. The Five Willows refers to Tao Yuanming, who wrote 'Biography of Mr. Five Willows' as a self-portrait. Wang Wei uses this to liken himself to the reclusive Tao. The two allusions together depict both the friend's wildness and the poet's seclusion.

「接舆」为春秋时楚国隐士陆通，字接舆，佯狂避世，人称楚狂，《论语·微子》载其歌而过孔子，曰「凤兮凤兮，何德之衰」；此处以狂士接舆比喻友人裴迪之放达不羁，醉而狂歌，正见其真率。「五柳」指陶渊明，渊明自号五柳先生，有《五柳先生传》自述宅边有五柳树，因以为号，王维以五柳自比，明其归隐之志与淡泊之怀。「柴门」为隐者居所之代称，陶诗有「柴门何萧条」之句；「墟里」即村落，「孤烟」指炊烟，陶渊明《归园田居》有「暧暧远人村，依依墟里烟」，王维此联直承其境而更见凝练，故宋人谓其得陶诗遗韵。暮蝉、秋水皆为秋日之景，古人多以秋蝉寄悲秋之意，此处却写得恬淡自适，正见王维以禅心观物、物我两忘的境界。二典一人一己，写友人狂歌之态，明自身归隐之志，自然浑成，不见用典之迹。此诗用典之妙，在以典写人而不以典炫学：接舆、五柳皆人所习知，一经拈出，友人之狂、己身之隐便跃然纸上，无须赘言。较之堆砌故实的诗作，此等用典方为高手，正合古人羚羊挂角、无迹可求之论。

Commentary

Su Shi praised Wang Wei's 'painting in poetry and poetry in painting.' The couplet was admired by Song critics as surpassing Tao Yuanming's 'warm distant villages, the smoke of hamlets' in clarity. Shen Deqian called it 'pure and lofty.'

苏轼《书摩诘蓝田烟雨图》评王维诗中有画，画中有诗，此诗正是明证：「渡头馀落日，墟里上孤烟」一联，构图、设色、光影俱佳，宋人以为深得陶渊明「暧暧远人村，依依墟里烟」之遗韵而更清远。明人胡应麟《诗薮》称王维五律清远闲淡，右丞独步；清人沈德潜《唐诗别裁》评此诗「转苍翠、日潺湲，写秋光如绘」。王士祯《带经堂诗话》谓王维诗字字入禅，此诗闲淡之中自有禅意，于柴门、暮蝉、孤烟之间，见出诗人澄怀静观之心。此诗与《辋川集》诸作共同奠定了中国山水田园诗清空淡远的审美典范，其以画法入诗、以禅心观物的艺术经验，对后世王孟诗派及宋代山水诗影响深远，至今仍是学习王维诗中有画之说的首选例证。此诗又见于宋人计有功《唐诗纪事》等总集，历代题咏不绝，清人编《唐诗三百首》亦未遗此篇，足见其地位。今之论者或以诗中有画、以动写静、用典写人三重妙处评之，皆有所据。

Prosody

Form Five-character regulated verse五言律诗

Rhyme Pingshui rhyme: -an, -ian, -yan (潺湲, 蝉, 烟, 前)湲、蝉、烟、前，押平水韵下平一先，首句不入韵

Tone pattern First couplet does not rhyme; ping-tone starting line without entering rhyme首句不入韵，平起仄收；首联「寒山转苍翠」作平平仄平仄，为五律常见特拗句式，通篇声调清和

Reading note Middle two couplets are parallel; painting-like scenes typical of Wangchuan poems.本诗为五言律诗，八句四联，首句不入韵，押下平一先韵，韵脚「湲、蝉、烟、前」皆清亮悠远，与秋日山水的清幽之境相谐。首联「寒山转苍翠」作平平仄平仄，「秋水日潺湲」作平仄仄平平，前者为五律中常见的特拗句式（平平平仄仄之变格），唐人习用不以为病，拗中见峭，反而增其清朗；颔联「倚杖柴门外，临风听暮蝉」对仗工整，「门外」对「风前」，方位词相对；颈联「渡头馀落日，墟里上孤烟」尤为精工，「渡头」对「墟里」，「落日」对「孤烟」，一水一陆，一红一白，字字相对而自然天成。全诗以白描语写景，不用一奇字丽语，而句句入画，是王维五律自然浑成风格的代表；与杜甫五律之精严锤炼相比，王维此诗以清空淡远见长，不烦绳削而自合，正是盛唐五律以意境胜、以神韵胜的典范。

Line by line

寒山转苍翠，秋水日潺湲。

Cold mountains turn blue-green, autumn waters gurgle all day – dynamic and static, evoking the quiet autumn in Wangchuan.

寒山渐渐转作苍翠，秋水终日潺潺流淌

The cold mountains deepen in blue-green; autumn waters gurgle on all day long.

首联写秋日山水的总体气象，动静相生，声色并具。「转」字写寒山在暮色中颜色渐变的动态过程：秋山本已萧疏，而夕阳斜照、苍翠之色渐浓，仿佛山色随时间推移而流转，一个「转」字使静山有了生命；「日」字写秋水之声响终日常在，「潺湲」拟其声，「日」状其久，以有声衬无声，更见秋日之静。一写山之颜色，一写水之声韵，一静一动，一色一声，对仗工整而自然。此联看似白描，实则暗含诗人静观万物的时间感：山色之转、水声之日，皆需凝神伫立良久方能体味，诗人闲居之态已见于景中，为全诗定下清幽闲远的基调。

The opening couplet writes the overall aspect of autumn hills and waters, motion and stillness interwoven, sound and color together. Turn writes the gradual change of the cold mountains' color at dusk: autumn hills already sparse, yet slanting sunlight deepens the blue-green, as if the mountain's hue flows with time; one turn gives the still mountains life. All day writes the autumn waters' sound unceasing; gurgling imitates it; all day its duration - sound setting off silence, the autumn stillness all the more present. One line the mountain's hue, one the water's music; one still one moving, one color one sound - matched naturally. The couplet seems plain line drawing, yet holds the poet's time-sense in still contemplation: the mountain's turning, the water's all-day sound both require long, rapt standing to savor; the poet's leisure is already in the scene, setting the poem's quiet, remote keynote.

倚杖柴门外，临风听暮蝉。

Leaning on a staff outside the wattle gate, listening to evening cicadas in the wind – depicts the poet's leisure, reminiscent of Tao Yuanming.

我倚着手杖立在柴门之外，迎着晚风静听暮蝉的鸣声

Leaning on my staff outside the wattle gate, I face the wind and listen to the evening cicadas.

颔联由远及近，诗人的形象正式登场。「倚杖」写其老态与闲态，「柴门」为隐者居所之象，「门外」点出诗人立身之处：不在门内，而在门外，正见其与自然相亲、无拘无束。「临风听暮蝉」五字是全联之眼：暮蝉之声，人多以为聒噪或悲切，诗人却临风静听，一个「听」字写其凝神敛虑、心无旁骛，蝉声之清、心境之静，两两相得。此联人物与景物融合无间：人是景中之人，景是人之所见所闻，与陶渊明「采菊东篱下，悠然见南山」同一机杼，皆是物我两忘的闲适境界，见出诗人晚年淡泊自足的生活情态。

The second couplet moves from far to near, and the poet's figure formally appears. Leaning on a staff writes his age and ease; wattle gate the hermit's dwelling; outside the gate fixes where he stands: not within but without, showing his nearness to nature, unconstrained. Facing the wind and listening to the evening cicadas is the eye of the couplet: the evening cicada's cry, which most find shrill or mournful, he listens to in the wind; one word listen writes his rapt, uncluttered mind - the cicada's clarity and the mind's stillness fitting each other. Person and scenery fuse without seam: the man within the scene, the scene what he sees and hears - the same working as Tao Yuanming's picking chrysanthemums by the eastern fence, gazing afar at the southern hills; the same realm of thing and self forgotten, showing the poet's late-life contented detachment.

渡头馀落日，墟里上孤烟。

At the ferry lingers the setting sun, above the village rises a lone smoke – a painting-like scene, still and distant, the essence of 'poetry as painting.'

渡口边还悬着一抹落日，村落里正升起一缕孤烟

At the ferry, the setting sun still lingers; above the village, a single column of smoke rises.

颈联是全诗最著名的画境。「渡头」与「墟里」对举，一水一陆；「落日」与「孤烟」相对，一红一白，一低一高，构成疏朗的构图。「馀」字写落日将尽未尽、余晖犹存，恰到好处地留住了黄昏的一瞬；「上」字写炊烟袅袅升起的动态，静中有动，使画面活了起来。「孤烟」之孤与边塞诗之孤城不同，此写村落炊烟之疏淡，于平常处见幽寂。此联明人推为诗中有画的典范，其境承陶渊明「暧暧远人村，依依墟里烟」而更见凝练清远；诗人不着一字抒情，而黄昏村居的安闲、诗人凝望的深情，皆在画面之外，正是以画法写诗、以景寓情的极致。

The third couplet is the poem's most famous painted scene. Ferry and village set side by side - water and land; setting sun and lone smoke - red and white, low and high, composing a spare, open picture. Still lingers writes the sunset not quite gone, its afterglow held, seizing the instant of dusk just so; rises writes the smoke curling up, motion within stillness, bringing the picture alive. The lone smoke's loneliness differs from the lonely cities of frontier verse: here it writes the sparse village smoke, seclusion in the ordinary. Ming critics judged this the model of poetry within painting; its realm descends from Tao Yuanming's distant village dim, village smoke faintly curling, yet more concise and limpid. The poet writes not one word of feeling; the calm of the dusk village and the depth of his gazing are all beyond the picture - the extreme of painting with poetry's method, lodging emotion in scenery.

复值接舆醉，狂歌五柳前。

Again I meet Jieyu drunk, wildly singing before the Five Willows – the allusions show the friend and the poet, highlighting hermit joy and friendship.

又逢你像接舆那样喝得大醉，在我的门前纵情放歌

Again I find Jieyu drunk, wildly singing before my Five Willows.

尾联由景入人，是全诗情感的点睛。「复值」点出此事之常：友人之醉、之狂歌，并非偶然，而是二人往还的日常，亲切中见交谊之深。「接舆」是楚国狂士，醉而狂歌，正写裴迪之放达真率；「五柳」为陶渊明自号，诗人以之自比，一则自明归隐之志，二则与接舆对举：狂士遇隐者，醉歌于门前，何等相得。前六句写景之闲静，至此以人事之喧（狂歌）收束，动静相映，反见友情之真。此联用典自然，不露痕迹，把二人同隐唱和的知交之乐写得跃然纸上，全诗亦由静景归于人情，余韵悠长。

The closing couplet turns from scenery to person, the poem's emotional point. Again I find: the word again shows this is habitual - the friend's drunken wild singing no chance occurrence but the daily round of their visits; deep friendship within familiarity. Jieyu is the madman of Chu, drunk and singing wildly - fitting Pei Di's free, unpretentious candor. Five Willows is Tao Yuanming's self-name, which the poet takes for himself: first, declaring his own hermit's resolve; second, pairing with Jieyu - madman meets hermit, drunken singing before the gate, what perfect accord. The six lines of quiet scenery close in the bustle of wild song: motion and stillness set off each other, and the truth of friendship stands out. The allusions are natural, leaving no trace; the joy of two recluses chanting together is made vivid, and the poem returns from still scenery to human feeling, savor long.

Study

Word focus

转 transforming; implies subtle change of mountain color, capturing motion in stillness. 「寒山转苍翠」之「转」，是全诗炼字之精者。转字写山色不是静止的，而是随时间推移而变化的动态过程：秋暮时分，斜晖渐浓，寒山的青苍之色仿佛正在一分分加深，如同画面在眼前缓缓晕染。以动词写颜色，化静态为动态，赋予无情的山以流转的生命，同时暗含诗人久久凝望的时间感——山色之转，须伫立静观方能察觉，诗人闲居之态已寓其中。若换作「寒山苍翠」之类的静态描写，则失此生机与情味。转字又自然引出下句之「日」：山色因时而转，水声因日而常，一动一常，两两对照，正是王维以动写静、静中见活的高明处，也是此联千百年来为人称道的关节所在。

馀 lingering; describes the remaining glow of sunset, precise and evocative of leisurely tranquility. 「渡头馀落日」之「馀」，写落日将尽未尽之态，炼字精到。馀字本义为剩余、遗留，此处作动词用，写渡口边还剩下最后一抹落日，仿佛落日是被留住的一缕余晖：既点明黄昏这一特定时刻，又赋予画面以留白与余韵——落日将落未落，余晖犹存，正是秋暮村居最有情味的一瞬。馀字之妙，在以少总多：一个馀字，暗含时光将暮的迟暮之感、诗人依依凝望的闲远之情，景物与心境浑然交融。若作「落日」「残日」，则坐实而少余味；唯馀字写出将尽未尽、欲去还留的动态，与下句「上孤烟」相配，一低一高、一静一动，画面疏朗而情韵悠长，是王维炼字以淡取胜的典型。

上 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「墟里上孤烟」之「上」字，写炊烟袅袅升起的动态，是全联画境之眼。上字本极平常，用在这里却恰到好处：村落里一缕孤烟正缓缓升腾，上字画出烟之升起的过程，静的画面中有了流动的生命；又与上句之「馀」相对，落日是下沉将尽的，孤烟是上升初起的，一落一升，一静一动，构图疏密有致，正是画家的经营位置。上字又带出孤烟的形态：一缕炊烟，不浓不淡，冉冉而上，村落之寂、人家之安，皆见于这一缕烟中。宋人评此联深得陶渊明「依依墟里烟」之遗韵，「依依」是烟之形态，此诗着一「上」字，则烟之动势、人之凝望俱在其中，较陶诗更见凝练，可见王维于寻常字眼中炼出画境的本领。