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魏晋 Wei-Jin · 诗 Poem

归园田居·其三

Return to the Garden and Fields, No. 3

陶渊明

Tao Yuanming

田园pastoral 归隐retreat 劳作labor 陶渊明Tao Yuanming

种豆南山下，草盛豆苗稀。
晨兴理荒秽，带月荷锄归。
道狭草木长，夕露沾我衣。
衣沾不足惜，但使愿无违。

I plant beans at the foot of South Mountain,
Weeds flourish, bean sprouts are few.
At dawn I rise to clear away the wild,
Shouldering my hoe, I return under the moon.
The path is narrow, grasses and trees grow tall,
Evening dew dampens my clothes.
It's not worth regretting that my clothes are wet,
As long as my wish is not betrayed.

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Meaning

The poet describes his daily life of farming: planting beans, weeding, and returning home late. Although labor is hard and the crop is poor, he doesn't mind getting his clothes wet with dew, as long as he can stay true to his heart's desire to live in seclusion.

在南山脚下种下豆子，杂草茂盛而豆苗稀疏；清晨起身去田里锄去荒草，直到月色满天才扛着锄头归来。狭窄的小路上草木茂密，傍晚的露水打湿了我的衣裳；衣裳湿了并不值得惋惜，只求不违背我归隐的心愿。

Appreciation

This poem uses plain language and vivid imagery to depict the poet's genuine experience of farming. The line 'Shouldering my hoe, I return under the moon' beautifully transforms hard work into a poetic scene. The final couplet expresses his unwavering commitment to his ideal of retreat, showing that true freedom lies in following one's heart.

【白话串讲】陶渊明种豆子，草长得比豆苗还高，他早上扛着锄头去，月亮出来才回家。“衣沾不足惜，但使愿无违”——辛苦，但自由。【意象与手法】善用白描与对仗，“晨兴”对“带月”、“理荒秽”对“荷锄归”，工稳自然【情感与主旨】陶渊明四十一岁出任彭泽令，八十余日便辞官归隐，此组《归园田居》即义熙二年（406）归田次年所作【名句点睛】高频考点为“带月荷锄归”的画面赏析、白描手法及“愿无违”之“愿”的内涵（归隐守志）；亦考陶诗平淡自然风格

Background

Tao Yuanming resigned from his post as magistrate of Pengze after only about eighty days and returned to his hometown in 406 AD. This poem was written the following year, during his early days of farming. It reflects his firsthand experience of agricultural labor and his firm resolve to live a recluse's life.

陶渊明《归园田居·其三》是组诗五首中的第三首，约作于东晋义熙二年（406），即诗人辞彭泽令归隐的次年。陶渊明（365—427），字元亮，一名潜，浔阳柴桑人。义熙元年（405），他任彭泽令仅八十余日，因不肯为五斗米折腰向乡里小人，慨然解印去职，赋《归去来兮辞》归隐，从此躬耕终生。此组诗即归田初期所作，写归隐后的田园生活与耕作的甘苦。其三是其中直接写农耕劳作的一首，也是中国诗歌史上最早以平等、亲切笔调正面描写农夫式耕作的名篇之一。在文学传统上，此前诗中的农事多为背景或赋役之叹（如《诗经·七月》写农事艰辛、汉乐府写挽歌），真正以隐士而亲执耒耜、把稼穑写得有滋有味且含哲理的，陶渊明堪称第一人。他出身士族却甘落田园，以耕作自食其力，使田园诗不止于赏玩风景，而落到实处的人与土地的关系。此诗所写的南山，即柴桑附近的庐山；种豆、荷锄、沾露，皆其躬耕实况。版本上此诗文字稳定，唯带月一作戴月，带月更为后世所重，以其更具诗意。

Art

The poem excels in plain description and balanced couplets, such as 'At dawn I rise' matched with 'Shouldering my hoe, I return under the moon'. The transition from scene to feeling to aspiration is natural. The language is simple yet profound, exemplifying Tao's style of being 'plain but rich, lean but full'.

全诗八句，以一日劳作为时间线，由晨至暮、由事及心，章法自然如随笔，却意脉完整。起二句种豆南山下，草盛豆苗稀以白描直写躬耕实况：种豆南山是归隐生活的标志性行为，草盛豆苗稀则毫不掩饰农事的笨拙与收成的堪忧——诗人不讳言自己非老农，反以此见其真诚。三四句晨兴理荒秽，带月荷锄归是千古名句：晨兴对带月，理荒秽对荷锄归，工稳自然，写出从破晓劳作到月出方归的辛劳与从容，带月二字尤见诗意，将披星戴月的苦役化为宁静的画境。五六句道狭草木长，夕露沾我衣补写归途细节，以夕露点明时令与清凉。末二句衣沾不足惜，但使愿无违由事入理，以衣沾不足惜反衬愿无违之重，情绪由外在的劳苦翻转为内心的满足。艺术上，此诗最突出者为白描的鲜活与对仗的自然：全诗几无丽词，却画面宛然；晨兴带月、理荒秽荷锄归两两相对，不事雕琢而自成骈偶。更重要的是它把农事与心志打成一片——劳作的苦（草盛、夕露）与守志的乐（愿无违）相生，体现了陶诗平中见奇、淡中藏味的至高境界。

Allusions

'South Mountain' alludes to the Book of Songs and also echoes Tao's own 'picking chrysanthemums by the eastern fence, gazing at South Mountain.' It symbolizes the poet's dwelling in seclusion. The poem uses no obscure allusions but everyday farm language, reflecting Tao's philosophy of returning to simplicity.

此诗用典极淡，意象多从《诗经》农事诗与隐逸传统化出而归于日常。其一为南山，即柴桑近处的庐山，亦是《饮酒》采菊东篱下，悠然见南山的同一座山，在陶诗中成了隐居与高洁的象征；其渊源可上溯《诗经·小雅·天保》如南山之寿与《古诗》南山之意象，然渊明以实写虚，使南山成为可耕可望的家园之山。其二为荷锄，荷即肩负，锄为农具；荷锄意象承《诗经·周颂·良耜》的农夫形象与《楚辞·离骚》的愿依彭咸之遗则式的躬行，更近陶渊明以农人自居的自我定位，后世王维、孟浩然、韦应物皆袭其荷锄之姿。其三为带月，或作戴月，带月以月为饰、如披月光，化用《诗经·陈风》与汉乐府夜行意象，把劳作归来写得如行画中，比戴月更富诗意与拟人味。其四为愿无违，愿指归隐守志之初衷，无违即不违背本心；其思想根柢在《论语》道不行乘桴浮于海式的守道不阿与《庄子》全真保性，渊明以农事圆其隐志。其五为夕露，承《诗经·郑风》野有蔓草零露漙兮的露意象，以露之清写归途之静。版本上带月、戴月并存，今多从带月本。

Commentary

Su Shi praised Tao's poetry as 'plain but rich, lean but full', and this poem is a perfect example. Zhu Xi noted that Tao's poems, though seemingly plain, contain a boldness that is not easily noticed. This poem captures that spirit of quiet determination.

此诗自唐以来即为田园诗典范，尤以其写躬耕之真著称。钟嵘《诗品》称渊明为隐逸诗人之宗，已定其格。唐代王维《渭川田家》田夫荷锄至、孟浩然《田家元日》田家占气候，皆可见陶的影响；至宋，苏轼前后和陶诗逾百首，其《和陶归园田居》多致意于耕作之乐，显受此诗启发。朱熹谓陶渊明诗平淡出于自然，正合带月荷锄之境；清代沈德潜《古诗源》评陶诗高致绝俗，信笔直书而自有深远。近人梁启超称渊明是唐以前第一个纯任灵性、不受拘束的诗人，其写农事不假粉饰正是灵性之证。此诗的传播史，实即田园审美由赏景到躬行的深化历程：在它之前，诗中的田园多为背景；在它之后，耕作本身成为诗意与人格的承载。现代教育中，带月荷锄归入选教材，与愿无违同成表达坚守本心、不以物喜的常用语。其经典地位，在于以最朴素的八句，把中国文人最珍视的守志安贫、回归自然写到了极致。

Prosody

Form Five-character ancient verse五言古诗（古体诗）

Rhyme Rhymes with the upper-level five-micro rhyme (稀、归、衣、违), throughout the poem.全诗八句，押平声微韵，稀、归、衣、违古音同属微韵，一韵到底；韵脚清微悠长，与月下归途的静谧、守志的从容相协。

Tone pattern Pure five-character lines, plain description with narrative; the couplets have slight parallelism but remain natural; structure progresses from planting, tending, returning, to realization.古体诗不绳以近体平仄黏对，以意驭声。五言句式自然顿挫，中间晨兴对带月、理荒秽对荷锄归用流水对，工稳而不板；诵读时当于晨兴、带月处稍缓，于愿无违处稳收，以见由劳转安的语气变化。

Reading note This is the third of five poems in the series about returning to farm life. The most famous line is 'Shouldering my hoe, I return under the moon'. The last couplet expresses the poet's steadfast heart with simple words, typical of Tao's deep sincerity.此诗为五言古体，与唐人律绝不同：它不以对仗的谨严、平仄的精切取胜，而以白描的鲜活与意脉的浑成见长。八句以一日劳作为序——种豆而起，理荒秽、带月而归，道狭沾衣而转，愿无违收束，起承转合如行云流水，毫无雕琢痕。韵脚一押微韵到底不换，正显心境的安定专一；中间两联自然成对（晨兴—带月、理荒秽—荷锄归），却是不事安排的流水对，工而不滞。句式上多用口语（不足惜、但使）与白描（草盛豆苗稀、夕露沾我衣），使农事之苦与守志之乐都写得真切可触。这种以古淡之体写至实之事、以常语见至味的艺术取向，正是陶渊明区别于颜谢雕琢诗风的根本——他不以声律辞藻胜，而以风神气韵与生命真实胜，开后世田园诗平易美学的宗风，故沈德潜谓其信笔直书而高致绝俗，苏轼更以质而实绮、癯而实腴许之。

Line by line

晨兴理荒秽，带月荷锄归。

At dawn I rise to clear weeds; under the moon I shoulder my hoe home. The contrast of dawn and moon highlights a full day's work, yet the tone is serene.

清晨起身去田里锄去荒草，直到月色满天才扛着锄头归来。

At dawn I rise to clear the weeds; under the moon I carry my hoe home.

这是全诗最负盛名的对句，也是陶渊明田园诗美学的凝练表达。晨兴言破晓即起，理荒秽写锄去田间杂草，带月荷锄归则写劳作至月出方归、扛锄踏月而行——从朝至暮的一日辛劳，被浓缩为两个干净的剪影。此句之妙，一在对仗自然：晨兴对带月（时间对时间）、理荒秽对荷锄归（动作对动作），工稳而不板，如话如画；二在带月二字，它把本属苦役的披星戴月，化为静谧优美的月下归途，月光如披、人锄成画，辛劳中透出从容与诗意，比戴月更富拟人与情韵。更深层看，这两句写的是身体的劳苦，却透出心灵的自由：诗人为守本心而甘受耕作之艰，故苦亦成乐、劳亦成美。它与《归园田居·其一》的守拙归园田同一精神，却以具体的一天将此精神坐实。千载之下，带月荷锄归已成为中国文人想象归隐生活时最动人的一个画面，凝聚着对简朴、自足、与天地相往来的生存方式的全部向往。

This is the group's most famous couplet, the condensed expression of Tao's pastoral aesthetic. At-dawn-rise writes rising at first light; clear-the-weeds writes hoeing the field. Under-the-moon-carry-hoe-home writes the return after moonrise, hoe on shoulder, walking home in moonlight. A full day's labor is compressed into two clean silhouettes. The couplet's subtlety is natural parallel: dawn against moon, clear-weeds against hoe-home - refined yet not stiff, like speech like painting. The under-the-moon character converts the starlit drudgery into a quiet, beautiful moonlight return; moonlight as clothing, hoe as painting, labor showing composure. On a deeper level, the physical hardship shows spiritual freedom: Tao endures farming to keep his heart, hence labor becomes beauty. A thousand years on, under-the-moon-carry-hoe-home has become the most moving image in the Chinese scholar's imagination of reclusion, gathering the yearning for simple, self-sufficient life with heaven and earth.

种豆南山下，草盛豆苗稀。

Planting beans at the foot of South Mountain. The weeds are thick but bean sprouts sparse. Honest about the poor yield, showing no pretense.

在南山脚下种下豆子，杂草茂盛而豆苗稀疏；

I planted beans below the southern hill; the weeds are lush, the bean sprouts thin.

这是全诗的起笔，看似平淡，却极见陶渊明人格的真诚。种豆南山下点明归隐后的实在营生——他在庐山脚下真的耕种，不是士大夫的雅玩，而是自食其力的生存；南山二字与《饮酒》采菊东篱下，悠然见南山同一座山，在此由哲理之山转为劳作之山，家园感更强。草盛豆苗稀则毫不掩饰农事的笨拙与收成的堪忧：豆苗被草淹没，显见诗人并非熟手农夫。这一笔的珍贵，在于它的不粉饰——一般田园诗总把农事写得丰饶美好，渊明却老实写出草盛苗稀的尴尬，正因其不讳言拙，反见人格之真。同时，这拙也与《其一》的守拙呼应：正因为守的是拙、是本分，才不在乎收成好坏，只在乎是否亲履此生。两句起得平实，却为后文带月荷锄归的从容与愿无违的坚定铺垫了最坚实的生活地基——所有的诗意，都从这真实的草盛苗稀中生长出来。

This opening seems plain, yet shows Tao's sincerity. Planted-beans-below-the-southern-hill names the real labor after reclusion - he farmed below Mount Lu, not the official's pastoral play, but self-supporting survival. Southern hill is the same mountain as plucking-chrysanthemums-by-the-eastern-fence's southern hill, here turning from philosophical mountain to labor mountain, the home feeling stronger. Weeds-lush-bean-sprouts-thin does not hide the farming clumsiness and doubtful yield: beans drowned in weeds, showing the poet is not an expert farmer. The line's preciousness is its lack of embellishment - pastoral poems usually write rich harvest; Tao honestly writes the lush-weed-thin-sprouts embarrassment. Precisely because he does not hide his clumsiness, his personality is true. This clumsiness echoes the keep-clumsiness of poem 1: because he keeps clumsiness, keeps his simple lot, he does not care about yield, only about living it himself. The plain opening lays the life ground for the later moonlight return.

衣沾不足惜，但使愿无违。

Wet clothes are not worth regretting, as long as my wish is not betrayed. The wish is to live in seclusion; this line reveals the core theme.

衣裳湿了并不值得惋惜，只求不违背我归隐的心愿。

My clothes are wet - no matter; only let my will not be betrayed.

这是全诗的收束与诗眼，由外在的劳苦翻转为内心的满足，完成了从事到心的升华。衣沾承前句夕露沾我衣，写归途露重、衣裳尽湿的实况；不足惜三字一笔抹去这物质的不适，语气轻描淡写，却重若千钧——衣裳湿了算什么？它把身体的辛苦轻量化，为后文的重心让路。但使愿无违则点破全篇主旨：愿指归隐守志、不慕荣利的本心，无违即不违背；只要这颗心未曾动摇，则露湿衣单皆不足道。这两句的逻辑是：农事虽苦（草盛、露沾），但因这是自己选择的、合乎本性的生活，苦亦甘之。它与《归去来兮辞》的乐夫天命复奚疑、《其一》的复得返自然同一归趣，是陶渊明安贫守志哲学的浓缩。一个但使，见出取舍的决绝与清醒；愿无违三字，遂成为后世一切坚守本心者共同的箴言——纵使衣沾、纵使清贫，只要不违其志，便是圆满。

This closing is the poem's eye, turning external hardship into inner satisfaction, completing the ascent from labor to heart. Clothes-wet carries on the evening-dew-wetting-my-clothes, writing the wet return. No-matter three characters wipe away the material discomfort, light tone yet weighty: what is a wet shirt? It lightens the body's hardship, making room for the later focus. Only-let-my-will-not-be-betrayed states the theme: will is the reclusive resolve, no-betrayed means not violated. As long as this heart has not wavered, dew-wet clothes matter not. The logic: farming is hard (lush weeds, wet clothes), but because this is a self-chosen, natural life, hardship is sweet. It shares the归趣 with the return-to-field rhapsody's what-doubt and poem 1's return-to-nature. The only-let shows the decisive clarity of choice; will-not-be-betrayed becomes the shared motto of all who keep their heart.

Study

Word focus

带月 carrying the moon (personification) 带月荷锄归之带月二字，是全诗最富诗意的炼字，也是陶诗化俗为雅的范例。带本为动词系佩（如带剑、带印），此处移以写月，意谓月光如带、披月而行，把无形的月色化为可披可系的具体饰物，赋予归途以画面的明亮与仪态的从容。它与戴月（顶着月亮）相较，更具拟人味与诗意：戴月偏于写实之劳，带月则近于邀月为伴、以月为饰的闲适，苦役因之而成月下独行之美。这个词的深意在于它反映了诗人对劳作的审美转化——对于被迫劳作者，月下归途是疲惫；对于主动归隐者，带月却是欣然。它与前文晨兴相对，晨对月、兴对归，写尽一日从朝至暮的躬耕，而带月正是这一日最美的句点。后世王维明月来相照、苏轼步转回廊之句，皆可见带月所开出的月下独行意境之脉。二字平易，却把中国文人想象中的归隐之夜写得温润而恒久。

愿 wish (to retreat and farm) 但使愿无违之愿字，是此诗乃至陶渊明全部归隐思想的凝聚点，含意极重。愿即心愿、本志，在此特指归隐守拙、不慕荣利、顺遂本性的初心——它不是功名之愿、富贵之愿，而是回到田园、保全真性的生命抉择。这个字的重量，在与衣沾不足惜的对比中凸显：衣裳湿透这样的实际困苦被轻轻放下，唯独愿字不可违；物质之失可忍，精神之违不可忍，取舍之间见出诗人安贫守志的决绝。其思想根柢在《论语》守死善道与《庄子》全真保性，渊明以农事将其坐实为可感可行的人生。愿与《归去来兮辞》的乐夫天命、《其一》的守拙、返自然同一序列，构成其人格的圆心。值得注意的是，愿不是抽象的道，而是种豆、荷锄、沾露这些具体日课中不离不弃的东西——它活在每一个带月而归的夜晚。千载之下，愿无违已成为中国人表达不违本心、坚守所信的终极短语之一。

晨兴 A key expression in the poem. Read it as an image, mood, or grammar point in context. 晨兴理荒秽之晨兴二字，是理解此诗劳作强度的关键词，亦见陶渊明躬耕的踏实。晨即清晨，兴指起、起身（如夙兴夜寐之兴），晨兴即天一亮就起来，写出诗人勤于农事、不敢懈怠的真实状态。它与带月荷锄归形成一日的时间对仗：晨为始、月为终，兴为起、归为歇，从破晓到月出，整整一天的田间劳作尽在其中，毫不夸张却分量十足。这个词的妙处在于它的平实——没有田园诗常见的风花雪月，只有天亮即起的农夫节奏，恰恰印证了诗人是真在耕作，而非雅士游观。它与《诗经·七月》的昼尔于茅、宵尔索绹同写农人勤苦，却因出于隐士自愿而别有一份从容。晨兴二字，把归隐从一种姿态落实为一种日课，也使后文的愿无违有了结结实实的生活支撑：所有的守志，都从这每一个清晨的起身开始。