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唐 Tang · 诗 Poem

晚泊浔阳望庐山

Mooring, in, the, Evening, at, the, Xunyang, Gazing, at, the, Mount, Lu

孟浩然

Meng Haoran

山水Landscape 怀古History

挂席几千里，名山都未逢。
泊舟浔阳郭，始见香炉峰。
尝读远公传，永怀尘外踪。
东林精舍近，日暮空闻钟。

Hanging, the, sail, several, thousand, miles,
The, famous, mountains, none, of, them, encountered.
Mooring, the, boat, at, the, walls, of, the, Xunyang,
Only, then, I, see, the, Incense, Burner, Peak.
Once, I, read, the, biography, of, the, Master, Yuan,
Ever, cherishing, the, traces, of, the, beyond, the, dust.
The, retreat, of, the, Eastern, Grove, near,
The, day, darkening, in, vain, I, hear, the, bell.

Listen

Meaning

A poem of the journey and the mountain, written by Meng Haoran. Hanging the sail several thousand miles, the famous mountains none of them encountered — the journey of the opening. Mooring the boat at the walls of the Xunyang, only then I see the Incense Burner Peak — the seeing of the middle. Once I read the biography of the Master Yuan, ever cherishing the traces of the beyond the dust — the memory of the middle. And the close's the retreat of the Eastern Grove near, the day darkening in vain I hear the bell — the close's hearing. The poem is the journey and the mountain: the sail, the peak, and the close's bell.

挂席几千里，名山都未逢。泊舟浔阳郭，始见香炉峰。尝读远公传，永怀尘外踪。东林精舍近，日暮空闻钟。

Appreciation

[Plain Paraphrase] Hanging, the, sail, several, thousand, miles, the, famous, mountains, none, of, them, encountered. Mooring, the, boat, at, the, walls, of, the, Xunyang, only, then, I, see, the, Incense, Burner, Peak. Once, I, read, the, biography, of, the, Master, Yuan, ever, cherishing, the, traces, of, the, beyond, the, dust. The, retreat, of, the, Eastern, Grove, near, the, day, darkening, in, vain, I, hear, the, bell. [Structure and Thought] The poem moves from the journey of the sail and the famous mountains, through the seeing of the Incense Burner Peak with the memory of the Master Yuan, to the close's the bell of the Eastern Grove. [Key Technique] The poem's art is the close of the hearing: once I read the biography of the Master Yuan, and the close's the retreat of the Eastern Grove near the day darkening in vain I hear the bell — the mountain gathered in the memory and the close's bell. [Emotional Tone] Journeying, cherishing, and quiet: the poem is the sail, the peak and the close's bell.

【白话串讲】孟浩然写《晚泊浔阳望庐山》：“挂席几千里，名山都未逢”——“泊舟浔阳郭，始见香炉峰”——“尝读远公传，永怀尘外踪”——“东林精舍近，日暮空闻钟”——他泊舟浔阳，遥望庐山。【意象与手法】此诗写晚泊望山，以望庐山写怀古，是孟浩然的名篇。前四句写望山：「挂席几千里，名山都未逢」写挂席几千里、名山都未逢——写尽望山的期待；「泊舟浔阳郭，始见香炉峰」写泊舟浔阳郭、始见香炉峰——写尽初见庐山；后四句写怀古：「尝读远公传，永怀尘外踪」写尝读远公传、永怀尘外踪——写尽怀远公；「东林精舍近，日暮空闻钟」写东林精舍近、日暮空闻钟——写尽空闻钟声。全诗以望庐山写怀古，写尽初见庐山的欣喜与怀远公的怅惘，是孟浩然的代表作。【情感与主旨】此诗写晚泊望山，以望庐山写怀古，是孟浩然的名篇。此诗写孟浩然乘舟晚泊浔阳（今江西九江），遥望庐山而怀东晋高僧慧远。此诗写望山：挂席几千里，名山都未逢——写挂席几千里、名山都未逢，写尽望山的期待；泊舟浔阳郭，始见香炉峰——写泊舟浔阳郭、始见香炉峰，写尽初见庐山；尝读远公传，永怀尘外踪——写尝读远公传、永怀尘外踪，写尽怀远公；东林精舍近，日暮空闻钟——写东林精舍近、日暮空闻钟，写尽空闻钟声。全诗以望庐山写怀古——那「始见香炉峰」写尽初见庐山的欣喜，「日暮空闻钟」写尽怀远公的怅惘，写尽初见庐山的欣喜与怀远公的怅惘，是理解孟浩然山水诗的重要篇章。【名句点睛】常考「挂席几千里，名山都未逢」写望山的期待；「泊舟浔阳郭，始见香炉峰」写初见庐山；「尝读远公传，永怀尘外踪」写怀远公；以及全诗以望庐山写怀古、以空闻钟声写怅惘的手法。

Background

Meng Haoran (689-740), the poet of the mountains and the fields of the Tang, wrote this 'Mooring, in, the, Evening, at, the, Xunyang, Gazing, at, the, Mount, Lu' of the journey and the mountain — the admiration for the Mount Lu. The journey of the sail with the famous mountains, the seeing of the Incense Burner Peak, and the close's the bell of the Eastern Grove — the poem gathers the admiration of the poet, the charm of the mountain. The poem is one of the famous works of the poet's poems of the mountains.

此诗写晚泊望山，以望庐山写怀古，是孟浩然的名篇。孟浩然（689—740），字浩然，襄州襄阳（今湖北襄阳）人，唐代伟大的山水田园诗人，与王维并称「王孟」。浔阳即今江西九江，庐山在其南。香炉峰为庐山名胜。东晋高僧慧远（远公）居庐山三十余年，建东林寺，结白莲社，为净土宗初祖。孟浩然一向向往隐逸，故于晚泊浔阳时遥望庐山而怀慧远。「挂席几千里，名山都未逢」写挂席几千里、名山都未逢——写尽望山的期待（扬帆数千里，名山都未逢）；「泊舟浔阳郭，始见香炉峰」写泊舟浔阳郭、始见香炉峰——写尽初见庐山（泊舟浔阳城外，始见香炉峰）；「尝读远公传，永怀尘外踪」写尝读远公传、永怀尘外踪——写尽怀远公（曾读慧远传记，永怀其尘外之踪）；「东林精舍近，日暮空闻钟」写东林精舍近、日暮空闻钟——写尽空闻钟声（东林精舍近在眼前，日暮只闻钟声）。全诗以望庐山写怀古，写尽初见庐山的欣喜与怀远公的怅惘，是理解孟浩然山水诗的重要篇章。

Art

The poem's art is the art of the hearing. The journey opens: hanging, the, sail, several, thousand, miles — the sail of the thousand miles; the, famous, mountains, none, of, them, encountered — the famous mountains of the none encountered. The seeing follows: mooring, the, boat, at, the, walls, of, the, Xunyang — the walls of the Xunyang; only, then, I, see, the, Incense, Burner, Peak — the Incense Burner Peak of the seeing; once, I, read, the, biography, of, the, Master, Yuan — the biography of the Master Yuan; ever, cherishing, the, traces, of, the, beyond, the, dust — the traces of the beyond the dust. And the close gathers the bell: the, retreat, of, the, Eastern, Grove, near — the Eastern Grove of the near; the, day, darkening, in, vain, I, hear, the, bell — the bell of the day darkening — the journey, the memory and the close's bell, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以铺垫写初见。「挂席几千里，名山都未逢」以铺垫写初见——那「几千里」「都未逢」写尽旅途的漫长，以铺垫写尽初见庐山的欣喜。其二，以映衬写欣喜。「泊舟浔阳郭，始见香炉峰」以映衬写欣喜——那「始见」写尽初见之喜，以映衬写尽久盼忽遇的欣喜。其三，以怀古写向往。「尝读远公传，永怀尘外踪」以怀古写向往——那「永怀」写尽仰慕之深，以怀古写尽对隐逸的向往。其四，以空闻写怅惘。「日暮空闻钟」以空闻写怅惘——那「空闻」写尽闻钟而不见人，以空闻写尽怀古的怅惘。此外，此诗前四句写望山的欣喜，后四句写怀古的怅惘，由喜转怅，正是山水诗「即景怀古」的写法。四重手法，使此诗以望庐山写怀古，写尽初见庐山的欣喜与怀远公的怅惘，是孟浩然的代表作。此诗尤可注意其「空」字收束的妙处：全诗一路写望山、写怀远公，皆蓄势待发，至「东林精舍近」句，精舍已在目前，读者皆以为诗人将登临造访、拜谒远公遗迹，而末句「日暮空闻钟」陡然一顿——精舍虽近而日暮，钟声可闻而远公不可见，一「空」字写尽欲访未访的怅惘。此正「以景结情」之妙，情韵悠远而余味无穷。

Allusions

'The Xunyang' (xun yang) is the Xunyang — the city of the Xunyang, the mooring of the middle; 'the Incense Burner Peak' (xiang lu feng) is the Incense Burner Peak — the peak of the incense burner, the peak of the Mount Lu; 'the Master Yuan' (Yuan gong) is the Master Yuan — the monk of the Huiyuan, the biography of the memory; 'the Eastern Grove' (dong lin) is the Eastern Grove — the grove of the east, the retreat of the close.

此诗的用语深植于山水与佛门的传统。「挂席」令人想到「挂席」写扬帆的意象——「挂席几千里」正是孟浩然的名句，也令人想到「挂帆济沧海」的意象；「香炉峰」令人想到「香炉峰」写庐山的意象——「泊舟浔阳郭，始见香炉峰」正是孟浩然的名句，也令人想到李白「日照香炉生紫烟」的香炉峰意象；「远公传」令人想到「远公」写慧远的典故——慧远居庐山三十年，也令人想到「莲社」的典故——慧远结白莲社，陶渊明、谢灵运皆与交游；「尘外踪」令人想到「尘外」写尘世之外的意象——「永怀尘外踪」正是孟浩然的名句，也令人想到「超然物外」的隐逸传统；「东林精舍」令人想到「东林」写东林寺的典故——慧远所居，也令人想到「精舍」写寺院的意象——「日暮空闻钟」正是孟浩然的名句。全诗化用香炉峰、远公、东林的典故，以望庐山写怀古，正是孟浩然「清淡自然」而善用典、承佛门传统写向往的本领。又「挂席几千里」之「几千里」可深味：孟浩然一生多在吴越荆楚间漫游，其《自洛之越》有「扁舟泛湖海，长揖谢公卿」之句，正是其放浪山水、不慕荣利之写照。此诗「几千里」写其行迹之远，「永怀尘外踪」写其志趣之高，山水之游与尘外之思相合，正是孟浩然「隐逸诗人」的本色，也可见其对慧远莲社的向往并非偶然。

Commentary

This poem is one of the famous works of Meng Haoran's poems of the mountains, quoted for the plainness of its journey and the quiet of its close. The Incense Burner Peak of the seeing, and the bell of the day darkening, are among the admired passages of the poet's poems. Critics praise the poem's quiet: the mountain gathered in the memory, to the close's bell.

此诗历来被推为孟浩然山水诗的名篇，也是唐人写庐山望远的代表。历代论者对此诗评价极高：清人评此诗「以望庐山写怀古，空灵淡远」；近人更指出「东林精舍近，日暮空闻钟」以空闻钟声写怅惘，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以八句的五言古诗写尽初见庐山的欣喜与怀远公的怅惘——那几千里挂席，那未逢的名山，那浔阳郭，那香炉峰，那远公传，那尘外踪，那东林精舍，那日暮的钟，都写尽了孟浩然笔下的庐山；那「日暮空闻钟」更以空闻写尽怀古的怅惘。此诗与李白《望庐山瀑布》（「飞流直下三千尺」）同为庐山名篇，一写「疑是银河落九天」的瀑布（望庐山瀑布），一写「日暮空闻钟」的禅意（晚泊浔阳望庐山）；又与陶渊明「采菊东篱下，悠然见南山」的隐逸传统一脉相承，可见中国诗山水与隐逸的因缘。对于今日读者，此诗是理解孟浩然山水诗的窗口，也是中国诗写庐山的经典——那日暮的钟声，穿越千年，仍在诉说着尘外的向往。

Prosody

Form An old poem of the mountains (wu yan gu shi)诗·五言古诗

Rhyme The poem rhymes on the level of the group — the cadence of the old poem that carries the quiet hearing.五古，押「峰」「踪」「钟」韵（上平二冬），一韵到底，音节淡远

Tone pattern The cadence is that of the hearing: the level opening with the journey, the turning with the memory, and the close's fall with the bell.此诗为五言古诗，押平声韵，一韵到底，音节淡远，正合山水的淡远。

Reading note The poem's sound matches its quiet: the cadences of the old poem, and the close — 'ri mu kong wen zhong' — falls with the bell, the sound of the hearing of the mooring poet.此诗为五言古诗，八句——「挂席几千里，名山都未逢。泊舟浔阳郭，始见香炉峰。尝读远公传，永怀尘外踪。东林精舍近，日暮空闻钟」，押「冬」韵（峰、踪、钟），一韵到底，音节淡远。全诗以望庐山写怀古：前四句写初见庐山的欣喜（挂席几千里，名山都未逢；泊舟浔阳郭，始见香炉峰），后四句写怀远公的怅惘（尝读远公传，永怀尘外踪；东林精舍近，日暮空闻钟）。八句短章，前写望山，后写怀古，以「日暮空闻钟」写尽怅惘的余韵，正见孟浩然「清淡自然」的本色。诵读此诗，宜以淡远的语调读「挂席几千里」的旅程，以空灵的语调读「日暮空闻钟」的钟声，结句要读得悠远而有余韵，方能传达出孟浩然的清淡自然。孟浩然古诗以「清淡自然」著称，此诗正是其山水五古的典范。

Line by line

东林精舍近，日暮空闻钟

The, retreat, of, the, Eastern, Grove, near, the, day, darkening, in, vain, I, hear, the, bell.

东林精舍近在眼前，日暮只闻钟声。

The Eastern Grove retreat is near; at dusk, I hear only the bell, in vain.

此二句是全诗写怅惘的核心，以东林精舍近写所望，以日暮空闻钟写所闻，写尽怀远公的怅惘，是千古名句。「东林精舍近」写东林精舍近在眼前——那「东林精舍」写东林寺，「近」写近在眼前，写尽精舍之近；「日暮空闻钟」写日暮只闻钟声——那「日暮」写日暮，「空闻钟」写只闻钟声，写尽怀古的怅惘。这句的深意在于：它以「东林精舍近」的所望与「日暮空闻钟」的所闻，写尽怀远公的怅惘——东林精舍近在眼前，那「东林精舍近」写尽精舍之近——东林精舍近在眼前，正是远公旧居，那「近」写尽精舍的临近；日暮只闻钟声，那「日暮空闻钟」写尽怀古的怅惘——精舍虽近，而远公已远，日暮只闻钟声，那「空闻」写尽闻钟而不见远公的怅惘；那「东林精舍近」写尽精舍之近，那「日暮空闻钟」写尽怀古的怅惘，一写所望，一写所闻，写尽怀远公的怅惘——精舍近而钟声空，正是远公不可见、尘外不可及的怅惘；此二句以所望、所闻写尽怀远公的怅惘，也让此二句成为全诗写怅惘的核心与千古名句。若换作直说「我很想见慧远却见不到」，则失其空灵；唯以「东林精舍近」写所望、「日暮空闻钟」写所闻，写尽怀远公的怅惘，也让此二句成为全诗写怅惘的核心。

These two lines are the poem's core in writing the wistfulness, famous through the ages. The Eastern Grove retreat is near: Eastern-Grove-retreat is Huiyuan's monastery on Lu Mountain, near names its proximity. At dusk, I hear only the bell, in vain: day-dusk, hear-the-bell, in-vain write the sound and the feeling. The deeper pathos lies in the near-and-vain contrast: the monastery is close, yet Huiyuan is gone; the bell sounds, yet there is no one to meet. Meng Haoran's poem is famous for this empty sound - the bell of a monastery whose master has been dead for centuries. The line closes the short poem on a note of pure wistfulness, no statement of grief. Compared with a plain saying I wished to see Huiyuan but couldn't, the near retreat and the vain bell give the longing both presence and absence, making this the poem's core.

泊舟浔阳郭，始见香炉峰

Mooring, the, boat, at, the, walls, of, the, Xunyang, only, then, I, see, the, Incense, Burner, Peak.

泊舟浔阳城外，始见香炉峰。

Mooring my boat at Xunyang's walls, only then do I see Incense Burner Peak.

此二句是全诗写初见的核心，以泊舟浔阳郭写泊舟，以始见香炉峰写初见，写尽初见庐山的欣喜，是千古名句。「泊舟浔阳郭」写泊舟浔阳城外——那「泊舟」写泊舟，「浔阳郭」写浔阳城外，写尽泊舟的地点；「始见香炉峰」写始见香炉峰——那「始见」写始见，「香炉峰」写香炉峰，写尽初见庐山的欣喜。这句的深意在于：它以「泊舟浔阳郭」的泊舟与「始见香炉峰」的初见，写尽初见庐山的欣喜——泊舟浔阳城外，那「泊舟浔阳郭」写尽泊舟的地点——晚泊浔阳城外，正是夜宿之地，那「浔阳郭」写尽泊舟的所在；始见香炉峰，那「始见香炉峰」写尽初见庐山的欣喜——千里挂席未逢名山，而今始见香炉峰，正是久盼忽遇的欣喜，那「始见」写尽初见之喜；那「泊舟浔阳郭」写尽泊舟的地点，那「始见香炉峰」写尽初见庐山的欣喜，一写泊舟，一写初见，写尽初见庐山的欣喜——千里未逢而始见香炉，正是得见名山的欣喜；此二句以泊舟、初见写尽初见庐山的欣喜，也为后四句的怀古作铺垫，也让此二句成为全诗写初见的核心与千古名句。若换作直说「在九江看到了庐山」，则失其欣喜；唯以「泊舟浔阳郭」写泊舟、「始见香炉峰」写初见，写尽初见庐山的欣喜，也让此二句成为全诗写初见的核心。

These two lines are the poem's core in writing the first sight, famous through the ages. Mooring my boat at Xunyang's walls: mooring-boat, Xunyang-walls names the evening anchorage. Only then do I see Incense Burner Peak: only-then-see, Incense-Burner-Peak names the first sight of Lu Mountain's famous peak. The deeper pathos lies in the only-then: Meng Haoran has sailed a thousand li without seeing a famous mountain; only after mooring at Xunyang does Incense Burner Peak appear. The line is famous for its understated joy - the long-awaited first sight, spoken as a simple fact. The mooring and the peak give the poem its opening movement: from the boat to the mountain, from the river to the hermit's dwelling. Compared with a plain saying I saw Lu Mountain when I docked at Jiujiang, the mooring and the only-then give the first sight both relief and restraint, making this the poem's core.

Study

Word focus

始见 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「始见香炉峰」之「始见」是写初见的关键词，一个「始见」写尽初见庐山的欣喜。始见者，才见、方见也。孟浩然以「始见香炉峰」写初见庐山，这个「始见」至少有双重意味：其一，写初见之喜——那「泊舟浔阳郭，始见香炉峰」写泊舟浔阳郭始见香炉峰，那「始见」写尽初见之喜——千里挂席未逢名山，而今始见，正是久盼忽遇，那「始见」写尽初见庐山的欣喜；其二，写机缘之巧——那「始见」更是写缘——泊舟而始见，正见机缘之巧，那「始见」写尽得见名山的巧缘。以「始见」写初见，正是孟浩然写欣喜的枢纽——若换作「初见」「忽见」等词，则或失其与「几千里」的呼应，或失其写始见的意味；唯「始见」二字，以泊舟浔阳郭始见香炉峰写尽初见之喜与得见名山的巧缘，与「挂席几千里」的未逢相合，写尽初见庐山的欣喜，也让「始见香炉峰」成为全诗写初见的名句。

空 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「日暮空闻钟」之「空」字是写怅惘的关键词，一个「空」字写尽怀古的怅惘。空者，徒然、白白也。孟浩然以「日暮空闻钟」写怅惘，这个「空」字至少有双重意味：其一，写闻钟而不见——那「日暮空闻钟」写日暮只闻钟声，那「空」字写尽闻钟而不见人——精舍虽近，而远公已远，那「空」字写尽怀古的怅惘；其二，写向往之虚——那「空」字更是写虚——空闻钟声，正见尘外之不可及，那「空」字写尽向往的虚渺。以「空」字写怅惘，正是孟浩然写余韵的枢纽——若换作「但」「独」等字，则或失其写空闻的意味，或失其与「日暮」的配合；唯「空」字，以日暮空闻钟写尽闻钟而不见人与向往的虚渺，与「东林精舍近」的近相合，写尽怀远公的怅惘，也让「日暮空闻钟」成为全诗写怅惘的名句。