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魏晋 Wei-Jin · 辞 Ci verse

归去来兮辞

Returning Home

陶渊明

Tao Yuanming

隐逸Hermit 田园Pastoral

归去来兮，田园将芜胡不归？
既自以心为形役，奚惆怅而独悲？
悟已往之不谏，知来者之可追。
实迷途其未远，觉今是而昨非。
舟遥遥以轻飏，风飘飘而吹衣。
问征夫以前路，恨晨光之熹微。
乃瞻衡宇，载欣载奔。
僮仆欢迎，稚子候门。

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归去来兮，田园将芜胡不归？
既自以心为形役，奚惆怅而独悲？
悟已往之不谏，知来者之可追。
实迷途其未远，觉今是而昨非。
舟遥遥以轻飏，风飘飘而吹衣。
问征夫以前路，恨晨光之熹微。
乃瞻衡宇，载欣载奔。
僮仆欢迎，稚子候门。
三径就荒，松菊犹存。
携幼入室，有酒盈樽。
引壶觞以自酌，眄庭柯以怡颜。
倚南窗以寄傲，审容膝之易安。
园日涉以成趣，门虽设而常关。
策扶老以流憩，时矫首而遐观。
云无心以出岫，鸟倦飞而知还。
景翳翳以将入，抚孤松而盘桓。
归去来兮，请息交以绝游。
世与我而相违，复驾言兮焉求？
悦亲戚之情话，乐琴书以消忧。
农人告余以春及，将有事于西畴。
或命巾车，或棹孤舟。
既窈窕以寻壑，亦崎岖而经丘。
木欣欣以向荣，泉涓涓而始流。
善万物之得时，感吾生之行休。
已矣乎！
寓形宇内复几时？
曷不委心任去留？
胡为乎遑遑欲何之？
富贵非吾愿，帝乡不可期。
怀良辰以孤往，或植杖而耘耔。
登东皋以舒啸，临清流而赋诗。
聊乘化以归尽，乐夫天命复奚疑！

Returning home! Fields and garden will be wild—why not return?
Since I let my mind be slave to my body, why be sad and alone?
I realize the past cannot be remedied, but the future can be pursued.
Indeed I have not gone far astray; I feel today is right and yesterday wrong.
The boat gently rocks and glides; the wind flutters and blows my robe.
I ask a passerby about the road ahead; I regret the dawn light is faint.
Then I see my cottage; I hasten and run joyfully.
My servant comes to welcome; my little son waits at the gate.
The three paths have grown wild, but the pines and chrysanthemums remain.
Leading my child, I enter the house; there is wine in the full cup.
I pour from the pot and drink alone; gazing at the courtyard trees, my face brightens.
Leaning by the south window, I give free rein to my proud thoughts; I realize the small room is easy to be content.
Daily I stroll in the garden, finding delight; though there is a gate, it is often closed.
Leaning on my staff, I wander and rest; from time to time I lift my head and gaze afar.
Clouds aimlessly rise from the peaks; birds weary of flying know to return.
The light grows dim and is about to set; I stroke a lone pine and linger.
Returning home! Let me cease all social intercourse.
The world is against me; why should I again seek anything by driving out?
I enjoy the affectionate talk of relatives; I delight in zither and books to dispel worry.
Farmers tell me spring has come; there will be work in the western fields.
Sometimes I call for a curtained cart, sometimes I row a lonely boat.
Following a winding path to a ravine, over rugged hills and mounds.
The trees flourish with joy; the spring flows gently and begins to run.
I rejoice in the season of all things; I feel my life will come to rest.
Enough! How long will my body dwell in the universe?
Why not follow my heart to go or stay? Why hurry and where to go?
Wealth and honor are not my wish; the imperial land is not to be hoped for.
I long for good times to go alone; sometimes I plant my staff and hoe the fields.
Climbing the eastern hill, I let out a long cry; facing the clear stream, I compose poetry.
Let me follow transformation to the end, enjoy Heaven’s decree—what more doubt?

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Meaning

The poem expresses Tao Yuanming's decision to resign from officialdom and return to his rural home, celebrating the joy of being free from worldly constraints and embracing a simple, natural life.

回去吧，田园快要荒芜了，为什么还不归去？既然自己让心灵被形体所役使，又何必失意独自伤悲？觉悟到过去不可挽回，知道未来尚可追寻。确实走入迷途还不算远，发觉如今正确而昨日错误。小船轻轻飘摇，风儿飘飘吹衣。向行人打听前路，只恨晨光微明。望见家门，又喜又奔。僮仆欢迎，幼子候门。小径将荒，松菊犹在。携子入室，有酒满樽。端起酒壶自饮，斜视庭树开颜。倚南窗寄托傲气，明白容身易安。园中日日散步成趣，门虽设却常关。拄杖游息，时时抬头远望。云无心出山，鸟飞倦知还。日光暗淡将落，抚孤松而徘徊。回去吧，让我息交绝游。世俗与我相违，还驾车求什么？喜听亲人闲话，乐以琴书消忧。农人告我春耕将至，要到西边的田里去。或乘小车，或划孤舟。既寻幽壑，也经丘峦。木欣欣向荣，泉涓涓始流。羡慕万物得时，感伤我生将休。算了吧，寄身天地能有几时？何不随心任去留？为什么惶惶然要去哪里？富贵非我所愿，仙境不可期。爱良辰而独往，或植杖而耘田。登东皋长啸，临清流赋诗。姑且顺化归尽，乐天知命又疑什么！

Appreciation

The piece is divided into four sections: the journey home, arrival at home, rural life, and philosophical acceptance. It blends emotion with scenery, using images like clouds and birds to symbolize the poet's own return. The language is natural and flowing, with a rhythmic beauty characteristic of the sao-style fu.

【白话串讲】 “归去来兮，田园将芜胡不归”——陶渊明说：回家吧，田园都要荒芜了。他辞官归隐，把“悟已往之不谏，知来者之可追”写成了中国文人的精神宣言。【意象与手法】文章以辞赋体写成，主用骚体兮字句而间以散行，舒卷自如。结构清晰：归途—到家—田园—达观，层层递转【情感与主旨】东晋义熙元年（405年），陶渊明任彭泽令仅八十余日，不愿束带见督邮、不为五斗米折腰，遂辞官归隐【名句点睛】此诗为魏晋陶渊明之作，精要赏析详见下方深度赏析。

Background

In 405 CE, after only 83 days as magistrate of Pengze, Tao Yuanming resigned, refusing to bow to a superior for the sake of a small salary. This poem was written on his way home and shortly after arriving. It marks a pivotal moment in Chinese literature, establishing the hermit ideal.

陶渊明（365？—427），字元亮，一说名潜，字渊明，号五柳先生，浔阳柴桑（今江西九江）人，东晋著名诗人、辞赋家。《归去来兮辞》作于东晋义熙元年（405）十一月，是陶渊明辞去彭泽县令、归隐田园时所作，其文前有序，末署「乙巳岁十一月也」，乙巳即义熙元年。序中自述其家贫而仕：「余家贫，耕植不足以自给，幼稚盈室，瓶无储粟」，因「家叔以余贫苦」，遂为彭泽令；然「质性自然，非矫厉所得」，仕仅八十余日，会郡遣督邮至县，县吏请其束带见之，陶渊明叹曰「吾不能为五斗米折腰，拳拳事乡里小人邪」，即日解印去职。此语见于萧统《陶渊明传》与《晋书·陶潜传》，遂成千古名言，而为《归去来兮辞》的创作缘起。此赋是陶渊明人生转折的宣言，标志着他从「心为形役」的仕途羁绊中挣脱，走向「委心任去留」的田园归宿。全篇以「归去来兮」的呼唤起，以「乐夫天命」的自安结，写尽了一个士人弃官归田的全过程与全心境，是中国隐逸文学中分量最重的一篇。需要辨明的是，「归去来兮」的「来」，是语助词，非「归来」之「来」，全句犹言「回去吧」，这一训诂，古今注家多有辨析。萧统《陶渊明传》记此事甚详：会郡遣督邮至，县吏请束带见之，潜叹曰「吾不能为五斗米折腰，拳拳事乡里小人邪」，即日解印去职，赋《归去来兮辞》。此赋与《归园田居》诸诗，同是其人生转折的产物，标志着陶渊明与官场的彻底决裂。

Art

Written in the fu style with sao-like 'xi' lines mixed with prose rhythms. The structure is clear: journey—home—garden—philosophy. It uses parallelism and reduplicated words like 'yaoyao' and 'piaopiao' to convey lightness and joy. Images such as 'clouds rising' and 'birds returning' are both natural and symbolic.

此辞的艺术成就，在于以骈散兼行、声情并茂的文字，写出归隐的全过程与全心境。就结构言，全篇可分四层：第一层从「归去来兮」至「觉今是而昨非」，写归田的决心，先呼「归去来兮」，继以「田园将芜胡不归」点明归因，再以「悟已往之不谏，知来者之可追」作理性的自省，末以「觉今是而昨非」作结论，层层推进，是心理的觉醒。第二层从「舟遥遥以轻飏」至「抚孤松而盘桓」，写归途与到家，「舟遥遥」「风飘飘」写归心似箭，「载欣载奔」写抵家之喜，「僮仆欢迎，稚子候门」写天伦之乐，「松菊犹存」「云无心以出岫，鸟倦飞而知还」写田园之趣，是行动与视听的展开。第三层从「归去来兮，请息交以绝游」至「感吾生之行休」，写归田后的交游与劳作，「悦亲戚之情话，乐琴书以消忧」写人际的安恬，「木欣欣以向荣，泉涓涓而始流」写自然的生机，是生活的落实。第四层从「已矣乎」至「乐夫天命复奚疑」，写达观的人生态度，「富贵非吾愿，帝乡不可期」「聊乘化以归尽，乐夫天命复奚疑」，以委运任化的哲思收束全篇，是精神的升华。四层由心而身、由行而神，环环相扣。就语言言，全篇主用骚体「兮」字句，而间以「悟已往之不谏」「归去来兮」等散行句，骈散交错，舒卷自如；「木欣欣以向荣，泉涓涓而始流」「云无心以出岫，鸟倦飞而知还」等句，对偶精工而不失自然，遂成千古传诵的名句。

Allusions

The title phrase 'guiqu lai xi' echoes the 'Chu Ci' evocation 'soul, return!' The 'three paths' alludes to Jiang Xu's reclusion. 'Emperor's land' and 'following transformation' derive from Zhuangzi. The lone pine and chrysanthemum symbolize the poet's integrity.

此辞的用典与意象，皆有深厚的源流。「心为形役」之说，源于《庄子·齐物论》「其形化，其心与之然」及《养生主》对形神关系的辨析，陶渊明以「心为形役」自况其出仕的不得已，是庄学思想的流露。「已往不谏、来者可追」化用《论语·微子》楚狂接舆歌「往者不可谏，来者犹可追」，孔子之世，接舆以此讽孔子退隐，陶渊明借以自悔出仕、决意归田，用典贴切而翻新。「三径就荒」用汉蒋诩典，蒋诩于王莽时归隐，舍中竹下开三径，唯与求仲、羊仲二隐士游，后世遂以「三径」为隐者家园的代称。「松菊」是《楚辞》以来的高洁意象，屈原「夕餐秋菊之落英」，松柏后凋，皆以喻坚贞，陶渊明「松菊犹存」既写归家所见，亦自况其节操未失。「云无心以出岫」化用《庄子·让王》「形在江海之上，心存魏阙之下」的反面，及陶渊明自己《停云》诸篇的云意象，以云之出岫无心，喻己之出仕本非有意，而今倦鸟知还。「帝乡不可期」的「帝乡」，语出《庄子·天地》「乘彼白云，至于帝乡」，指神仙之境，陶渊明谓其不可期，则归于「乐夫天命」，是儒道两家思想的融合。这些典故，皆化用无痕，融入自家的性情，遂成一家之言。就文体言，此辞主用骚体「兮」字句，而间以四言、六言的散行，是陶渊明熔铸楚辞与汉赋、自成一体的创格，其骈散兼行的笔法，遂开后世抒情小赋的新境。

Commentary

Ouyang Xiu remarked, 'In Jin there were no essays, only this one.' Su Shi wrote, 'Yuanming took office when he wished, not shunning it; he retired when he wished, not priding himself on it.'

《归去来兮辞》是中国文学史上评价最高的辞赋之一。梁昭明太子萧统编《文选》，选录此篇，并亲为陶渊明作传，称其「文章不群，辞采精拔，跌宕昭彰，独超众类」；又谓读其文者，「驰竞之情遣，鄙吝之意祛，贪夫可以廉，懦夫可以立」，可见其感染力之深。北宋欧阳修更推此篇为「晋无文章，唯陶渊明《归去来兮辞》一篇而已」，此语虽不无夸张，而见其推崇之至。苏轼贬谪岭南时，尤爱此篇，尝和其词，又欲「以《归去来兮辞》稍加檃括，使就声律」，作《哨遍》隐括之，其「归去来兮，吾归何处」的追和，使此篇的精神在宋代又得一脉传承。南宋朱熹论陶，称其「高于晋、宋人物」，而此篇尤为朱子所重。历代选本，自《文选》以下，《古文观止》《古文辞类纂》等无不收录，遂成蒙学与文人共同的精神食粮。此篇之传，一在其人——陶渊明「不为五斗米折腰」的典故，使其成为士人气节的象征；一在其文——「舟遥遥以轻飏」「云无心以出岫」等句，以其清新自然，成为后世无数诗文的语料与典源。元明清画家如赵孟頫、文徵明，皆绘《归去来兮图》，书此文，可见其跨艺术门类的深远影响。元明清三代，赵孟頫、文徵明、陈洪绶诸画家皆绘《归去来兮图》，书家亦多以之入书，其影响遍及诗、文、书、画。近人鲁迅称陶渊明并非浑身是静穆，此篇于冲淡之中，实有决绝之力，是其人格的立体写照。

Prosody

Form Fu (rhythmic prose, sao style)辞赋（骚体抒情小赋，骈散兼行）

Rhyme Irregular rhyme, often rhymed at line ends in couplets赋体不主一韵，全篇多次换韵：如「归」「悲」「追」「非」相叶，「飏」「衣」「微」相叶，「奔」「门」「存」「樽」相叶，「颜」「安」「关」「观」「还」「桓」相叶，「游」「求」「忧」「畴」「舟」「丘」「流」「休」相叶，「时」「之」「期」「耔」「诗」「疑」相叶，平仄韵交错，随文转韵

Tone pattern Literary Chinese, free rhythm, four- to seven-character lines此赋以四言、六言句式为主，间用「兮」字句与散行句，骈偶与散行交错。其平仄不以格律为限，而重骈句的整饬与散句的流转，声调随情感的起伏而抑扬，是典型的骈散相间的抒情小赋。

Reading note The particle 'xi' (兮) is a hallmark of the Chu Ci tradition; this is not regulated verse but lyrical prose.《归去来兮辞》的声韵之妙，在于「骈散兼行，声情相发」。全篇以四言、六言为主，而穿插「归去来兮」「已矣乎」「寓形宇内复几时」等散行长句，使整饬的骈偶与自由的散语交错出现，如行云流水，舒卷自如。就用韵言，赋体不主一韵，全篇随文意转换而多次换韵：首段「归」「悲」「追」「非」皆平声支微韵，写归田之决，声调清越；「飏」「衣」「微」写归途，平声悠扬，如舟行之轻快；「奔」「门」「存」「樽」转平声，写抵家之喜，声调欢快；「颜」「安」「关」「观」「还」「桓」写园中之乐，声调从容；「游」「求」「忧」「畴」「舟」「丘」「流」「休」写田园劳作，声调绵长；末段「时」「之」「期」「耔」「诗」「疑」收束，写达观之思，声调安详。平声韵的悠长，正合全篇冲淡平和的情调。对偶句如「木欣欣以向荣，泉涓涓而始流」「云无心以出岫，鸟倦飞而知还」，平仄相间，音韵铿锵，而「欣欣」「涓涓」的叠字，更添声情之美。全篇声韵之自然，如天籁自鸣，正是陶渊明「豪华落尽见真淳」的语言境界在声律上的体现。

Line by line

既自以心为形役

Since I let my heart be enslaved by the body,

既然自己让心灵被形体所役使

Since I made my heart the body's slave,

此句是全篇自我反省的起点。「心」指精神，「形」指形体，「心为形役」即心灵被形体所役使——为了口腹之养、躯体之安，而违背本心，出仕为官，这是陶渊明对自己出仕的自责与了悟。「既」字领起，语气沉痛而清醒，「自以」二字尤见其自责之切：作茧者是自己，役心者也是自己，怨不得旁人。此句化用《庄子》形神之辨，而落到实处，写的是一个士人在仕与隐之间挣扎后的清醒——原来这些年所奔竞的，不过是让心灵为躯体作奴仆。以「心为形役」四字总括自己十三年的仕宦生涯，笔力千钧，而自责之中，已暗含了挣脱的决心，为下文的「悟已往之不谏」张本。

This line is the rhapsody's self-examination starting point. Heart is spirit, body is the physical form; heart-enslaved-by-body means the spirit's being driven by the form - for food and shelter, violating the original heart to take office. Since leads off, the tone sober and awake; self-made shows the self-blame's sharpness - the cocoon-spinner was himself, the heart's enslaver was himself, no one to blame. The line transforms Zhuangzi's body-spirit distinction into concrete fact: a scholar's clarity after years between office and reclusion - all those years of rushing were only making the heart serve the body. Four characters summarize thirteen years of office, weighty, and within the self-blame lies the resolve to break free.

悟已往之不谏

I know the past cannot be mended,

觉悟到过去不可挽回

I awaken to what is past being beyond remedy,

此句写陶渊明对过去仕途生涯的了断。「悟」字是全句之眼，它不是模糊的后悔，而是透彻的觉悟——终于明白了，「已往」的仕途「不谏」，「谏」本指匡正、挽回，「不谏」即不可挽回、无法补救。这「悟」字的分量，在于它是经历了十三年的仕隐挣扎、彭泽令的八十余日之后，才得来的清醒。此句化用《论语》接舆之歌「往者不可谏，来者犹可追」，而陶渊明用「悟」字领起，比楚狂的讽劝更添一层亲身的痛切——他不是听人劝，而是自己悟。既然「已往不谏」，便不再懊悔，「不谏」二字既是无可奈何的承认，也是毅然决然的翻篇，为下句「知来者之可追」蓄势。

This line writes Tao's settlement with his official past. Awaken is the line's eye - not vague regret, but thorough awakening: finally understanding that the past office cannot be mended. Mend means rectify; beyond-mended means irrecoverable. The awaken character's weight is that it came only after thirteen years of office-reclusion struggle and eighty days as Pengze magistrate. The line transforms the Analects's the past cannot be advised, yet the future may be pursued; yet Tao uses awaken, adding personal grief beyond the Chu madman's admonition - he was not persuaded, but awakened himself. Since the past is beyond mending, no more regret; beyond-mended is both admission of helplessness and decisive turning of the page.

云无心以出岫

The clouds leave the peaks without intent,

云无心出山

Clouds emerge from the hillside without intent,

此句是陶渊明最负盛名的写景名句，亦是其心境的绝妙象征。「岫」是山穴，云从山间飘出，「无心」二字是全句的灵魂——云之出岫，不是有意为之，不是存心造作，而是自然而然的飘出，不滞不留，无挂无碍。陶渊明以「云无心」自况其出仕：当年出山为官，亦如云之出岫，本非出于功名的热中，而是身不由己的偶然；今既归田，亦如云之自出，纯任自然。此句与下句「鸟倦飞而知还」构成对偶，「无心」对「倦飞」，「出岫」对「知还」，一写云之自在，一写鸟之知返，而陶渊明的归隐，正兼得二者——既如云之无心，又似鸟之知还。以物写心，物我交融，遂成千古绝唱。

This line is Tao's most famous scenery line, the perfect symbol of his mind. Peak is the mountain cave; clouds drift from the hills. Without-intent is the line's soul - the cloud's emerging is not deliberate, not contrived, but naturally drifting, unstopped, unbound. Tao uses cloud-without-intent for his own taking office: leaving the mountain for office was like the cloud's emergence, not from worldly ambition but from bodily necessity; now returning to the fields is likewise the cloud's natural course. This line and the following bird, tired of flying, knows to return form a couplet - without-intent against tired-of-flying, emerge-peak against know-return. The cloud's freedom and the bird's knowing-return; Tao's reclusion has both. Thing writes heart, thing and self fused - the eternal masterpiece.

聊乘化以归尽

I shall simply follow nature to my end.

姑且顺化归尽

I will drift with change toward my end.

此句是全篇哲理的最高处。「乘化」即顺应自然的变化，「归尽」即归于生命的终点，「聊」字领起，语气冲淡——姑且这样顺应造化、走向生命的尽头吧。这「聊乘化以归尽」六字，把生死看成了自然的过程，不惧不畏，不慕仙佛（前句已言「帝乡不可期」），只以一颗顺其自然的心，坦然地走向归宿。此句与「乐夫天命复奚疑」相连，写尽了陶渊明的生死观与天命观：富贵非所愿，仙境不可期，那么剩下的，便只有「乘化」与「乐天」——顺应自然，乐天知命，夫复何疑。「聊」字尤为传神，它把沉重的人生问题，化为一种轻松的、从容的态度，是陶渊明式的达观。全篇的归隐，最终都归结到这一「乘化归尽」的安详。

This line is the rhapsody's philosophical summit. Follow-nature means following the natural change; return-to-end means returning to life's end. Simply leads off, tone plain - simply follow creation toward life's end. These six characters treat life and death as natural process, neither fearing nor seeking immortality (the previous line already says the imperial realm cannot be hoped for); only with a heart at one with nature, calmly toward the end. This line and and what doubt? together write Tao's life-and-death and heaven-mandate view: wealth not wished, immortality not hoped; what remains is only follow-nature and rejoice-in-mandate. The simply character is vivid, converting the heavy life-question into a light, composed attitude - Tao-style equanimity. The whole reclusion ultimately settles into this follow-nature-to-end peace.

Study

Word focus

役 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「役」字是「心为形役」一句的核心，写尽出仕的无奈与痛苦。「役」本指奴役、驱使，陶渊明以「心为形役」四字，把自己十三年的仕宦生涯，说成是心灵被躯体奴役的过程——为了俸禄，为了口腹，心不得不屈从于形，违背自己的本性去应酬、去奔竞。「役」字的沉痛，在于它点明了仕途的实质：不是「仕」而是「役」，不是施展抱负而是为人驱使。此字又承《庄子》形神之辨而来，而陶渊明以一字写尽其人生感悟，可谓炼字之极。一个「役」字，既是自责，又是觉醒——唯有认清这「役」的本质，才能有下文「归去来兮」的毅然决绝。

悟 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「悟」字见于「悟已往之不谏」，是全篇由悔转醒的关捩。「悟」是透彻的觉悟、彻底的明白，与「悔」「省」等字不同：「悔」是情绪的追悔，「省」是浅层的反省，「悟」则是理性的、根本的明了。陶渊明用「悟」字，写他对过去仕途的认知已臻于通透——不是一时冲动的后悔，而是深思熟虑后的彻悟：已往的仕途不可挽回，未来的田园尚可追寻。此字的分量，在于它是十三载仕隐挣扎的结晶，是彭泽令八十余日后的一声长叹。以「悟」字领起「已往之不谏」，使全篇的归隐决定，由情感的冲动上升为理性的抉择，是全篇心理转折的点睛之字。

岫 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「岫」字见于「云无心以出岫」，是此句写景的着力处。「岫」指山穴、山峦，是一个较为冷僻的字，陶渊明选用它，取其幽深、静穆之意——云从山穴中缓缓飘出，一个「岫」字，写出了山间的幽深与云起的缥缈，比用「山」「岭」更添一层幽邃的意境。「岫」字又与其上「无心」、其下「出」相配，构成「无心以出岫」的完整意象：云之出，出于山穴，自然而然，无心无系。此字的选择，见出陶渊明炼字不避冷僻而追求精准的功力。后世「岫」字遂与「云」结下不解之缘，成为山水文学中写云的常用字眼，其源正在此句。