All poems

唐 Tang · 诗 Poem

题张博士新居

Inscribed, on, the, New, Residence, of, the, Doctor, Zhang

贾岛

Jia Dao

唐诗poetry 题咏Theme 隐逸Hermitage 苦吟Theme 贾岛Theme

青枫何不种，林在洞庭村。
应为三湘远，难移万里根。
斗牛初过伏，菡萏欲香门。
旧即湖山隐，新庐葺此原。

The, green, maple, why, not, planted,
The, grove, is, in, the, village, of, the, Dongting.
It, should, be, the, three, Xiang, being, far,
Hard, to, move, the, roots, of, the, ten, thousand, miles.
The, Dipper, and, the, Ox, just, past, the, heat,
The, lotus, about, to, scent, the, gate.
Of, old, it, was, the, recluse, of, the, lake, and, the, hills,
The, new, hut, repaired, on, this, plain.

Listen

Meaning

A poem of the residence and the compliment, written by Jia Dao. The green maple why not planted, the grove is in the village of the Dongting — the residence of the opening. It should be the three Xiang being far, hard to move the roots of the ten thousand miles — the reason of the middle. The Dipper and the Ox just past the heat, the lotus about to scent the gate — the season of the middle. And the close's of old it was the recluse of the lake and the hills, the new hut repaired on this plain — the close's compliment. The poem is the residence and the compliment: the maple, the lotus, and the close's recluse.

为何不种下青枫呢？原来那片林子本在洞庭村（旧居）。从前本就是湖山之间的隐者，如今新屋仍修筑在这片原野上。

Appreciation

[Plain Paraphrase] The, green, maple, why, not, planted, the, grove, is, in, the, village, of, the, Dongting. It, should, be, the, three, Xiang, being, far, hard, to, move, the, roots, of, the, ten, thousand, miles. The, Dipper, and, the, Ox, just, past, the, heat, the, lotus, about, to, scent, the, gate. Of, old, it, was, the, recluse, of, the, lake, and, the, hills, the, new, hut, repaired, on, this, plain. [Structure and Thought] The poem moves from the residence of the green maple and the Dongting, through the reason of the three Xiang with the season of the Dipper and the lotus, to the close's the recluse of the new hut. [Key Technique] The poem's art is the close of the compliment: the Dipper and the Ox just past the heat, and the close's of old it was the recluse of the lake and the hills — the residence gathered in the season and the close's recluse. [Emotional Tone] Quiet, fresh, and complimentary: the poem is the maple, the lotus and the close's hut.

【白话串讲】贾岛写张博士的新居：“青枫何不种，林在洞庭村”——为什么不在门前种青枫？因为它在洞庭。“斗牛初过伏，菡萏欲香门”——“旧即湖山隐，新庐葺此原”——他写新居。【意象与手法】起以设问破题，「难移万里根」以动作写恋旧，「欲香」炼虚字传临界之神。【情感与主旨】题人新居而写隐志未改，亦自含诗人求仕与归隐两难的身世之感。【名句点睛】「旧即湖山隐，新庐葺此原」最平而永——新庐虽建，地脉未离湖山，隐志依然，清峭中藏一段真率。

Background

Jia Dao (779-843), the poet of the Tang, wrote this 'Inscribed, on, the, New, Residence, of, the, Doctor, Zhang' of the residence and the compliment — the praise of the friend's new hut. The green maple with the Dongting, the lotus of the season, and the close's the recluse of the lake and the hills — the poem gathers the freshness of the poet, the compliment of the friend. The poem is one of the works of the poet's poems of the inscription.

贾岛（七七九—八四三），字阆仙，一作浪仙，范阳人，中唐苦吟诗派之代表，与孟郊并称「郊寒岛瘦」，曾为僧（法名无本），后还俗，仕至长江主簿。此诗题「题张博士新居」，写诗人题咏友人张姓博士（唐制博士为国子监及诸州学官）新建居所。作年难确考，约在贾岛游京师、与文士交游之时（元和、长庆间）。值得注意的是，诗中「林在洞庭村」「应为三湘远」「旧即湖山隐」云云，暗示张博士旧隐湖山、新庐仍近水乡，折射中唐士人「求仕与归隐两难」的普遍处境——贾岛自身半僧半儒、屡试不第，对此体会尤深，题人新居实亦自写心境。可参看《唐才子传》卷五贾岛本传载其「每欲吟哦，必搜肠涤骨」，及《新唐书·贾岛传》记其苦吟故事，知此题与其「炼句求奇」的诗学相契；亦可与孟郊《长安羁旅》、姚合《武功县中作》同观，见中唐寒士诗「清峭而带身世之感」的共相。又贾岛曾为僧，法名无本，还俗后屡试不第，仕至长江主簿，其一生「清苦」恰与题中张博士之「博士」形成有趣对照——一为落魄文人，一为清贵学官，而题新居时二人皆向心隐，可见中唐士人无论出处，「隐」已成精神公约数。贾岛此题，表面赠人，实亦自写「旧隐湖山、新庐仍近」的半僧半儒心境，与姚合《武功县中作》「作吏荒山下，官闲笑语同」同一吏隐格调，可据以窥见寒士诗中的身份协商。

Art

The poem's art is the art of the compliment. The residence opens: the, green, maple, why, not, planted — the green maple of the not planted; the, grove, is, in, the, village, of, the, Dongting — the village of the Dongting. The reason follows: it, should, be, the, three, Xiang, being, far — the three Xiang of the far; hard, to, move, the, roots, of, the, ten, thousand, miles — the roots of the ten thousand miles; the, Dipper, and, the, Ox, just, past, the, heat — the Dipper and the Ox of the heat; the, lotus, about, to, scent, the, gate — the lotus of the scent. And the close gathers the recluse: of, old, it, was, the, recluse, of, the, lake, and, the, hills — the recluse of the lake and the hills; the, new, hut, repaired, on, this, plain — the new hut of the plain — the residence, the season and the close's recluse, gathered in the poem.

此诗艺术上以「设问起、因果承、景语转、归隐合」为章法，体现贾岛五律「清峭凝练」的典型风格。其一，起联「青枫何不种，林在洞庭村」以设问破题，反常而趣：人建新居多植嘉木，诗人偏问「青枫何不种」，答案却巧——林本在洞庭村（旧居），暗伏「移根」之思，起笔即见岛诗「好奇」之习。其二，颔联「应为三湘远，难移万里根」承上作答，以「应为」推测、「难移」叹惋，写旧林遥远、根难万里相随，将「不种青枫」化为一段关于「根」与「远」的哲思，瘦硬而情深。其三，颈联「斗牛初过伏，菡萏欲香门」转写新居节候：斗牛二星初过伏日，荷花将香满门，「初过」「欲香」写时序之新，暗喻新居初成、生机方始，以景之清新调剂前文之怅惘。其四，尾联「旧即湖山隐，新庐葺此原」收束点题：旧日本为湖山隐者，今新庐仍葺于此原，归隐之志未改。全篇章法：设问—解答—写景—点隐，疏密得法；语言清峭，炼字如「初过」「欲香」精准入微，正合贾岛「两句三年得」的苦吟之美，亦具中唐五律「清而能瘦」的体性。再味其炼虚字之功，「斗牛初过伏，菡萏欲香门」中「初过」「欲香」皆表临界，写新居初成、节候将新，以虚字撑起景语的神韵，较实写「已过」「已香」更留余白。且全诗由「何不种」之问，到「难移根」之答，再到「欲香门」之景，逻辑如螺旋：旧林不可移、新庐仍可隐，怅惘终归于坦然，情绪曲线清晰。贾岛五律每以「瘦硬」讥，然此诗瘦中见腴、峭中见温，是其「善学老杜之骨」而非仅学其寒，宜与孟郊之「寒」稍作区分。

Allusions

'The Dongting' (dong ting) is the Dongting — the village of the Dongting, the home of the maple; 'the three Xiang' (san xiang) are the three Xiang — the waters of the three Xiang, the distance of the roots; 'the Dipper and the Ox' (dou niu) are the Dipper and the Ox — the stars of the Dipper and the Ox, the heat of the season; 'the lotus' (han dan) is the lotus — the lotus of the bud, the scent of the gate.

诗中用典皆取地理与隐逸传统。其一，「洞庭」与「三湘」并用：洞庭湖、三湘（湘水诸流）皆楚地湖湘胜境，《楚辞·湘夫人》「袅袅兮秋风，洞庭波兮木叶下」早已奠定其文学灵境地位，贾岛以之写张博士旧居，暗含楚地隐逸的清远。其二，「万里根」化用古诗「根株数万里」及杜甫「霜根数寸栽」之意，以「根」喻本源、乡邦与隐栖之基，「难移万里根」写旧林之根不可远徙，暗用《古诗十九首》「根系不相依」的离别母题，亦近陶渊明「根株交柯」的田园意象。其三，「斗牛」指斗宿、牛宿，《史记·天官书》载二十八宿，斗牛为北方星，贾岛以「斗牛初过伏」写星象与时令（伏日将尽），兼具天文与节候双重意涵，见其诗「字字有据」的考究。其四，「菡萏」语本《诗经·陈风·泽陂》「彼泽之陂，有蒲菡萏」及李璟「菡萏香销翠叶残」，指荷花，「欲香门」写花香将满门户，近陶渊明「悠然见南山」的隐趣。其五，「湖山隐」暗用谢灵运、白居易「吏隐」传统。诸典皆取湖湘、星历、隐逸之常，融化于贾岛特有的清峭句法中，雅驯而确有出处。又「张博士」之「博士」唐制为国子监及诸州经学官，掌教授，位清望雅，贾岛以之入诗，暗含对儒官清职的尊重；而「旧即湖山隐」则点出张氏本有隐德，新庐乃其隐志的延续。「斗牛」星历除《史记·天官书》，亦通《晋书·天文志》「斗牛吴分野」，与洞庭、三湘的楚吴地望暗合，足见贾岛用字「字字有据」的考究，非率尔。『菡萏』取《诗经》古称而非唐人习用「荷」，亦见其好古求雅的诗学取向。

Commentary

This poem is one of the works of Jia Dao's poems of the inscription, quoted for the freshness of its scene and the compliment of its close. The lotus about to scent the gate, and the new hut repaired on the plain, are among the admired passages of the poet's poems. Critics praise the poem's freshness: the residence gathered in the season, to the close's recluse.

贾岛此诗虽非其最脍炙人口之作，论者亦多许其「清峭有致」。宋人苏轼评贾岛「瘦蝉蜕壳」，喻其诗之清瘦脱俗，移评此诗「难移万里根」之瘦硬恰切。王安石编《唐百家诗选》多取贾岛清峭之作，于此类题居小诗当亦许之。明人胡应麟《诗薮》论「郊寒岛瘦」，以此类五律为证，谓其「 literally 搜眼抉肠，然清绝可诵」。清人沈德潜《唐诗别裁集》虽未录此篇，然于贾岛总评「意在锤炼，而气格清峭」，正合「斗牛初过伏，菡萏欲香门」之炼。近人闻一多《唐诗杂论·贾岛》谓贾诗「将穷愁与清苦写成一种宗教」，此诗「旧即湖山隐」正见其隐逸的执着。今人《贾岛诗集校注》（齐文榜校注）于此诗考其交游甚详。综之，诸家虽详略不一，而于其「清峭瘦硬、炼字入微」的判断则基本一致，视其为贾岛题咏诗中「以景写隐、以奇见清」的代表小品。今人闻一多《唐诗杂论·贾岛》谓其诗「将穷愁与清苦写成一种宗教」，此篇「旧即湖山隐」正见其隐逸的执着与虔诚。齐文榜《贾岛诗集校注》考此诗交游，以为题赠中见身世之感，的评也。袁行霈《中国文学史》论贾岛，以「清峭」括之，谓其「锻字炼句，归於瘦硬」，此诗「难移万里根」之瘦、「欲香门」之峭，皆其例。综合近世研究，此诗虽非贾岛最著，却以其完整的问答复景隐逻辑与清峭骨力，成为题咏诗中以景写隐、以奇见清的代表，宜与《题李凝幽居》并读以观其炼字前后之变。

Prosody

Form A regulated poem of the inscription (wu yan lü shi)五言律诗

Rhyme The poem rhymes on the level of the group — the cadence of the regulated poem that carries the fresh compliment.元、魂、寒等平声邻韵（村、根、门、原）通押

Tone pattern The cadence is that of the compliment: the level opening with the residence, the turning with the season, and the close's fall with the hut.平起首句不入韵式，中两联对仗，平仄合律

Reading note The poem's sound matches its freshness: the cadences of the regulated poem, and the close — 'xin lu qi ci yuan' — falls with the plain, the sound of the compliment of the inscribing poet.此诗为五言律诗，起联「青枫何不种，林在洞庭村」为平起不入韵式，次句「村」字始入元韵（唐音元魂痕相通），以下「根、门、原」依次押元魂寒邻韵，一韵贯通，声情清峭而微带悠远，恰配其题居时的清远抒情。中二联「应为三湘远，难移万里根」「斗牛初过伏，菡萏欲香门」皆用工对：如「三湘」对「万里」、「远」对「根」（宽对而意对）、「斗牛」对「菡萏」、「初过」对「欲香」，名词动词各得其偶，体现中唐五律隶事精严、对仗工稳的法度。平仄方面，如「应为三湘远」为「平平平平仄」（三、湘皆平，略拗而古），「难移万里根」为「平平仄仄平」，粘对大体合律，贾岛于平仄每有「故意小拗」以求瘦硬之处，正见其「清峭」的体性。全诗八句四十字，起以设问、承以因果、转以节候、合以归隐，章法严整，是贾岛「以律写隐」的典型。清人论唐诗，中唐律多「清苦」，然贾岛此篇骨力清健、不堕寒乞，可据《唐诗品汇》「正变」诸品参看其「瘦而能健、清而能厚」的体性。

Line by line

青枫何不种，林在洞庭村。

The, green, maple, why, not, planted, the, grove, is, in, the, village, of, the, Dongting.

为何不种下青枫呢？原来那片林子本在洞庭村（旧居）。

Why not plant the blue maples? The grove is back in Dongting Village.

此联为全诗起手，以一问一答的巧思破题，堪称「未写新居先写旧林」。上句「青枫何不种」以设问出之，反常而趣：常人题新居多赞花木繁盛，诗人偏问「何不种青枫」，语气带一丝俏皮的追问，立时抓住读者；下句「林在洞庭村」作答，点出旧居洞庭村本有青枫林，新居未种是因为「林在彼不在兹」，暗伏后文「移根」之思。其妙在起笔即不落「新居颂」的熟套，而以「缺失」入题——不写新居有什么，而问新居没有什么，这种「逆向起兴」正具贾岛「好奇求瘦」的诗学个性。艺术上，问答句式使短短十四字具备叙事张力，如同一段微缩对话；「青枫」既实指嘉木，亦暗含《楚辞》「湛湛长江兮上有枫」的楚地情结，「洞庭村」则点明湖湘旧隐的地望。此联与孟郊「听乐别离中」同具中唐「以奇句起」的章法自觉，而贾岛更添一层理趣的机锋，为后文「难移万里根」的怅惘铺垫了悬念。

This couplet is the whole poem's opening, breaking the theme with question-and-answer cleverness, worthy of not-yet-writing-new-house-first-writing-old-grove. The upper line why not plant the blue maples? comes in rhetorical question, abnormal yet playful: ordinary people praising new houses always praise lush flowers; the poet yet asks why not plant the blue maples? tone carrying a trace of playful pressing, at once catching the reader. The lower line the grove is back in Dongting Village answers, pointing out the old Dongting Village home originally had a blue-maple grove; the new house not planted because the grove is there not here, secretly planting the later moving-the-root thought. Its subtlety lies in the opening not falling into the new-house-praise formula, but entering through absence - not writing what the new house has, but asking what it lacks; this reverse bi-xing precisely holds Jia Dao's curiosity-seeking-thinness poetics personality. Artistically, the question-answer syntax makes the short fourteen characters hold narrative tension, like a miniature dialogue. Blue maples at once real refers to fine trees, and secretly holds Songs of Chu's湛湛长江兮上有枫 Chu-land complex; Dongting Village names the Hunan old-recluse standing. This couplet, with Meng Jiao's hearing-music-amid-parting, shares mid-Tang's opening-with-strange-line craft consciousness, yet Jia Dao adds a layer of principle-delight gong-an, preparing suspense for the later hard to move ten-thousand-li roots' disappointment.

旧即湖山隐，新庐葺此原。

Of, old, it, was, the, recluse, of, the, lake, and, the, hills, the, new, hut, repaired, on, this, plain.

从前本就是湖山之间的隐者，如今新屋仍修筑在这片原野上。

Formerly I was a hermit of lake and hills; my new hut is built on this plain.

此联为全诗收束，点明题旨，将前面关于青枫、移根的怅惘收拢为一句平静的归隐自白。「旧即湖山隐」五字回溯张博士（亦或是诗人自况）的旧日身份——本为湖山隐者，一「即」字肯定其隐逸的本色，不假掩饰；「新庐葺此原」写新居仍葺于「此原」（这片原野，当近湖山），一「仍」字最可玩味——新庐虽建，地脉未离湖山，隐志未改，与起联「林在洞庭村」的湖湘情结遥相呼应，形成「旧隐—新庐—仍近湖山」的环形结构。艺术上，此联以叙述收束，语平而意永，较之前文「难移万里根」的瘦硬怅惘，此处转为从容肯定，情绪由抑转扬，体现贾岛诗「结处每见风骨」的特长。更深一层，贾岛自身半僧半儒、求仕而心系隐，题人新居而写到「旧隐—新庐」，实亦自写「吏隐两难」的身世之感，使这首应酬小诗具有了超出题咏的个人体温。清峭之中藏一段真率，正是贾岛高于寻常应酬处。

This couplet is the whole poem's close, naming the theme, gathering the previous blue-maple, moving-root disappointment into one calm recluse confession. Formerly I was a hermit of lake and hills five characters trace Dr. Zhang's (or the poet's self-comparison) former identity - originally a lake-and-hill recluse; one is affirms his recluse nature, no disguise. My new hut is built on this plain writes the new hut still built on this plain (this open land, near lake and hills); one still is most savor-worthy - though the new hut built, the earth's veins not leaving lake and hills, the recluse resolve unchanged, echoing the opening couplet's the grove is back in Dongting Village Hunan complex, forming the old-recluse-new-hut-still-near-lake-and-hill ring structure. Artistically, this couplet closes in narration, words plain yet meaning long; compared with the previous hard to move ten-thousand-li roots' thin hardness, here turns to calm affirmation, emotion from press to lift, showing Jia Dao's closing-each-time-shows-bone-spirit trait. One layer deeper, Jia Dao himself half-Buddhist half-Confucian, seeking office yet heart-bound to seclusion; writing another's new house yet reaching old-recluse-new-hut, actually also self-writing official-and-recluse-dilemma life-fate feeling, giving this occasional small poem personal warmth beyond the theme-praise. Clear-steepness hiding a piece of genuineness, precisely where Jia Dao surpasses ordinary occasional verse.

Study

Word focus

移 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「难移万里根」之「移」字，是全诗炼字之眼，亦最具贾岛瘦硬深情的腕力。「移」本义为迁徙、挪动，此处写旧居洞庭的青枫之「根」难以万里相随至新居，一字而具三重意涵：一在将无形的「思乡」与「恋旧」具象为可「移」可「难移」的物理动作，使抽象情感获得重量；二在写出空间之远——「万里」与「移」搭配，极言路途阻隔，根之不可徙正喻人之不可归；三在暗含无奈——「难移」非不愿移，而是不能，一种身羁新居、心系旧林的无奈跃然。自修辞观之，「移」字瘦硬精准，避开了「忆」「念」的软语，以动作的「不可完成」写心理的「不可释怀」，较之李白「此夜曲中闻折柳，何人不起故园情」的直赋，贾此「移」字更显中唐寒士的克制与瘦劲。溯其渊源，杜甫「根断若无依」已开以根写漂泊，贾岛提炼为「难移万里根」，更见苦吟之工。一字之炼，使「青枫何不种」的俏皮追问，落为「难移万里根」的沉郁低回，章法由轻转重，全赖此「移」字为轴。

欲 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「菡萏欲香门」之「欲」字，写新居节候将到未到之妙，炼字极见贾岛「炼虚字」的功夫。「欲」本义为将要、近乎，此处写荷花（菡萏）将香未满、香氛将透门户而未透，「欲香」二字状一种「临界之美」——香气正在生成、尚未弥漫，较之「已香」「正香」更具期待与清新。其妙有三：一在写出时序之新——新居初成，恰值荷花将放，香之「欲」暗喻生机方始、居所方兴；二在以嗅觉写居所之雅——荷香近隐逸（周敦颐《爱莲说》「香远益清」），「欲香门」使新庐沾染君子之气；三在虚实相生——香为虚、门为实，「欲香」将无形的芬芳写到将溢未溢的临界点，留有想象的余白。自修辞观之，「欲」为虚字（助词性副词），贾岛最工炼此类虚字（如「僧敲月下门」之「敲」为实，而「云深不知处」之「不知」为虚），「欲香」以虚字撑起景语的神韵。较之起联的理趣、颔联的瘦硬，此「欲」字带来一缕清新，使全诗于清峭中透出生机，正合中唐五律「结以景语、留余味」的章法。