唐 Tang · 诗 Poem
田园乐·其六
Joy of the Countryside (No. 6)
桃红复含宿雨，柳绿更带朝烟。
花落家童未扫，莺啼山客犹眠。
The willow is green, touched with the morning mist.
Petals fall, the houseboy has not swept them,
The oriole sings, the mountain guest still sleeps.
Meaning
The poem paints a pastoral morning of rain-wet peach and willow, falling petals, and a recluse still asleep to the oriole's song. It conveys the ease and self-containment of a life lived with nature.
粉红的桃花上还含着昨夜的雨珠，翠绿的柳丝更带着清晨的烟霭。花瓣飘落，家童还没清扫；黄莺啼鸣，山中的隐者犹自安眠。
Appreciation
Color does the work: red peach still wet with night rain, green willow touched by morning mist, a small, bright, breathing world. Falling petals un-swept and an oriole singing while the mountain guest sleeps let motion frame stillness, the picture of a mind at ease. Su Shi's line that Wang Wei 'has painting in his poems' fits this quatrain exactly—it is a painting that happens to be words.
【白话串讲】 “桃红复含宿雨，柳绿更带朝烟”——王维写田园：桃花含着宿雨，柳绿带着朝烟。“花落家童未扫，莺啼山客犹眠”——花落了没人扫，莺啼了客人还在睡。一幅安逸的田园晨景。 【意象与手法】以“桃红”“柳绿”设色，以“宿雨”“朝烟”渲染，色彩明丽而气息清幽；对仗工稳。 【情感与主旨】写隐居田园的闲适安然，流露恬淡自得、与自然相融的意趣。 【名句点睛】“花落家童未扫，莺啼山客犹眠”——以动衬静，闲适之趣盎然。
Background
This is the sixth of seven poems in Wang Wei's 'Joy of the Countryside' series, written of his retired ease at Wangchuan.
《田园乐·其六》为唐代王维所作，是写田园春景、山客犹眠的诗。王维（701—761），字摩诘，河东蒲州人，唐代诗人、画家。此诗：桃红复含宿雨，柳绿更带朝烟。花落家童未扫，莺啼山客犹眠。全诗写田园春景、山客犹眠，是王维诗的名篇。
Art
Six-character lines, fresh in color, with motion and stillness born together, achieving a painter's scene.
《田园乐·其六》艺术上以田园春景的描摹与山客犹眠的闲淡见长。全诗四句：首写桃红柳绿——“桃红复含宿雨，柳绿更带朝烟”写桃红复含宿雨、柳绿更带朝烟；末写花落莺啼——“花落家童未扫，莺啼山客犹眠”写花落家童未扫、莺啼山客犹眠。全诗以田园春景写山客犹眠，正是王维诗闲淡的笔法。
Allusions
No overt allusion; pure natural imagery.
《田园乐·其六》用典在“桃红”“宿雨”“柳绿”“朝烟”“花落”“莺啼”“山客”。“桃红”“柳绿”写桃红柳绿；“宿雨”写宿雨（夜雨）；“朝烟”写朝烟（晨烟）；“花落”写花落；“莺啼”写莺啼；“山客”写山客（隐者自指）。全诗以这些意象写田园春景、山客犹眠，用典自然而闲淡自见，正是王维诗的笔法。
Commentary
Su Shi judged Wang Wei 'has painting in his poems, painting has poetry in it'; this piece shows it especially.
《田园乐·其六》是王维诗的名篇，也是唐诗中写田园闲适的代表作。此诗写田园春景、山客犹眠，向为论者称道。论者多赏其田园春景的描摹与山客犹眠的闲淡——“桃红复含宿雨，柳绿更带朝烟”写桃红复含宿雨、柳绿更带朝烟，闲淡之极；“花落家童未扫，莺啼山客犹眠”写花落家童未扫、莺啼山客犹眠，更见其闲。王维为山水田园派代表，此诗正是其代表——以田园春景写山客犹眠，正是其诗风。
Prosody
Line by line
桃红复含宿雨，柳绿更带朝烟。
Peach blossoms still hold last night's rain; willow green is fresh with morning mist.
桃红复含宿雨，柳绿更带朝烟。
The peach blossoms still hold last night's rain; the willows' green is newly veiled in morning mist.
首写桃红复含宿雨、柳绿更带朝烟，是全诗写田园春景的起点。“桃红复含宿雨”写桃红复含宿雨——“桃红复含宿雨”写桃红又含着夜雨——桃红复含宿雨；“柳绿更带朝烟”写柳绿更带朝烟——“柳绿更带朝烟”写柳绿更带着朝烟——柳绿更带朝烟。二句写桃红复含宿雨、柳绿更带朝烟：桃红复含宿雨，柳绿更带朝烟。以“桃红复含宿雨”写桃红含雨、娇艳欲滴，以“柳绿更带朝烟”写柳绿带烟、朦胧如画，正是王维诗写田园春景的起点——桃红宿雨，柳绿朝烟。
The opening writes peach blossoms holding last night's rain and willow green with morning mist, the starting point of the pastoral spring scene. Peach blossoms still hold last night's rain: the pink flowers holding last night's rain, dewy and luscious. Willow green is fresh with morning mist: the green willows carrying the morning haze, hazy as a painting. One line writes the rain-laden peach, the other the mist-veiled willow - Wang Wei's starting point for pastoral spring: peach in night rain, willow in morning mist. The two images, paired color against color, set the limpid, drenched morning without a word of the poet; the spring scene of Wangchuan stands complete in eight characters.
花落家童未扫，莺啼山客犹眠。
Flowers fall, yet the servant has not swept them; orioles sing, yet the mountain guest still sleeps.
花落家童未扫，莺啼山客犹眠。
Fallen flowers lie unswept by the boy; orioles sing, and the mountain dweller still slumbers.
末写花落家童未扫、莺啼山客犹眠，是全诗写山客犹眠的归结。“花落家童未扫”写花落家童未扫——“花落家童未扫”写花落、家童尚未扫——花落家童未扫；“莺啼山客犹眠”写莺啼山客犹眠——“莺啼山客犹眠”写莺啼、山客犹在酣眠——莺啼山客犹眠。二句写花落家童未扫、莺啼山客犹眠：花落家童未扫，莺啼山客犹眠。以“花落家童未扫”写花落未扫、悠闲之态，以“莺啼山客犹眠”写莺啼犹眠、闲适之极，正是王维诗写山客犹眠的归结——花落未扫，莺啼犹眠。
The closing writes fallen flowers unswept, the mountain guest still sleeping, the resolution of the scene. Fallen flowers lie unswept by the boy: flowers fallen, the servant not yet sweeping. Orioles sing, and the mountain dweller still slumbers: orioles calling, the guest still deep in sleep. One line writes the unswept flowers and the leisure, the other the orioles' song and the sleep - Wang Wei's resolution of the mountain guest's slumber: fallen flowers unswept, orioles singing while he sleeps. The contrast of sound (oriole) and silence (sleeping), of the falling flowers and the unswept ground, renders the pastoral ideal: morning already busy with beauty, yet the dweller's rest undisturbed - the leisure of a life that needs not hurry.
Study
Word focus
Related Reading
Compare this related work with the poem above through theme, imagery, tone, and emotional movement.
王维《山居秋暝》写空山新雨、明月松间，与本首同为王维诗写山林田园。差异在时令：田园乐写春日朝景；山居秋暝写秋日暮景。一写“春”之明，一写“秋”之清。两者并读，可见王维诗写山林田园的两种时令。
竹里馆 The Bamboo Hut 王维 · 同为王维诗写幽居闲适，一写山客犹眠一写独坐弹琴，皆闲淡 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
王维《竹里馆》写独坐幽篁、弹琴长啸，与本首同为王维诗写幽居闲适。差异在情境：田园乐写春晨犹眠；竹里馆写月夜弹琴。一写“眠”之闲，一写“琴”之闲。两者并读，可见王维诗写幽居闲适的两种情境。
村居 Dwelling in the Village 高鼎 · 同为诗写乡村春景，一写山客犹眠一写儿童放鸢，一闲一乐 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
高鼎《村居》写二月春景、儿童放纸鸢，与本首同为诗写乡村春景。差异在情致：王维写山客犹眠之闲；高鼎写儿童放鸢之乐。一写“闲”之眠，一写“乐”之嬉。两者并读，可见诗写乡村春景的两种情致。