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五代 Five Dynasties · 词 Ci lyric

渔歌子·荻花秋

Angler's Song · Autumn Reed Flowers

李珣

Li Xun

写景landscape 隐逸Hermitage 闲适leisure

渔歌子·荻花秋荻花秋，潇湘夜，橘洲佳景如屏画。
碧烟中，明月下，小艇垂纶初罢。
水为乡，篷作舍，鱼羹稻饭常餐也。
酒盈杯，书满架，名利不将心挂。

Reed flowers in autumn, a Xiao-Xiang night; the Orange Isle's fair scene like a screen-painting.
In the blue mist, under the bright moon, the little boat's angling just done.
Water for home, the awning for a house; fish broth and rice my daily fare.
The cup full of wine, the shelf full of books; fame and gain I do not hang upon my heart.

Listen

Meaning

Autumn reed flowers drift in the still night of Xiao-Xiang; the fair scene of the Orange Isle is like a painting on a screen. In the blue mist and the bright moon, the line on the little boat is just drawn in. Water is my home, the boat's awning my house, fish broth and rice my daily food. The cup brims with wine, the shelf fills with books; fame and gain I never hang upon my heart.

秋天的荻花在潇湘的静夜里随风飘飞，橘子洲的美景宛如屏风上描绘的山水画卷。在青碧的烟霭之中、皎洁的明月之下，小艇上垂钓的丝线刚刚收起。以水为家乡，以船篷为房舍，家常的鱼羹稻饭便是每日的餐食。酒杯斟得满满，书架上排满诗书，功名利禄全不挂在心头。

Appreciation

The upper part is pure scene: reed flowers, Xiao-Xiang, the Orange Isle, blue mist, bright moon and the little boat spread layer by layer into a clear-autumn night fishing picture. The lower part turns to the human: water for home, the awning for house, fish broth and rice and self-content in poem and wine. The language is plain as talk, without ornament; three-character and seven-character short lines skip with rhythm, deeply influenced by Zhang Zhihe's 'Angler' of the mid-Tang, showing openness amid plainness, a scattered ease rare among reclusion themes, with a clear and distant mood.

【白话串讲】 “荻花秋，潇湘夜，橘洲佳景如屏画”——李珣写潇湘的渔夫生活：“水为乡，篷作舍，鱼羹稻饭常餐也”。“酒盈杯，书满架，名利不将心挂”——一个渔夫，比多少做官的人活得自在。【意象与手法】上片纯写景物，荻花、潇湘、橘洲、碧烟、明月、小艇层层铺展，构成一幅清秋夜渔图；下片转入人情，以水为乡、篷作舍、鱼羹稻饭、诗酒自适，由景入人，物我交融。全词善用三字短句排比与七字长句相间，语言浅近如话而不假雕饰，于平淡中见旷达，意境清远萧散。【情感与主旨】李珣先世为波斯人而久居蜀中，前蜀亡后不仕新朝，向往江湖隐沦，此词借渔父自在生活寄托超脱名利、眷恋自然的心境，是五代隐逸词的代表作，与花间词秾艳绮靡的主流迥然不同。【名句点睛】中高考常以隐逸情怀、以景写心设题，须把握酒盈杯、书满架与名利不将心挂之间的对照，体会渔父形象即词人自我写照，以及全词由景入人、由人言志的章法。

Background

Li Xun (855–930), courtesy Derun, of Persian ancestry, lived in Zizhou. After Former Shu fell he would not serve Later Tang or Later Shu, deep in longing for his lost state, and turned to rivers and lakes, 'his heart set on mist and cloud, admiring the hidden and withdrawn'. He sailed down the Three Gorges into the lake region, and while in Hunan and Hubei lived in retirement, then traced the Xiang upstream to the Nine Doubts, and later long dwelt in Lingnan. This group of 'Angler's Song' was written in his lake-region retirement, using the angler's free life to lodge his heart of rising above fame and gain and clinging to nature — a representative of his reclusion lyrics.

李珣（约855—约930），字德润，先世为波斯人，随唐末动荡入蜀定居梓州，故人称其有异域血统而深染汉文化。他早年仕前蜀为宾贡，前蜀亡后不肯再仕后唐与后蜀，对故国深怀眷恋，于是向往江湖，自称「志在烟霞慕隐沦」。他曾乘舟东下三峡，进入湖南湖北一带游历隐居，又溯湘水至九嶷山，晚年长期生活在岭南。这组《渔歌子》即写于湖湘隐居时期，借渔父的自在生活寄托超脱名利、眷恋自然的心境，是其隐逸词的代表作。值得注意的是，五代词坛以花间派秾艳绮靡为主流，李珣却能跳出脂粉气，以清疏明快的笔触写渔家日常生活，这与他的波斯血统、商旅阅历以及乱世中亲历亡国的身世密切相关：正因为见惯了名利场中的兴衰浮沉，才格外珍惜江湖烟水间的自由。此词写荻花秋夜、潇湘明月、橘洲佳景，字里行间既有对故土的追忆，也有对恬淡人生的体认，是了解五代隐逸词风不可多得的文本。李珣集中屡以渔父为题，可见他对这一题材的偏爱与经营，此首尤为其中翘楚。

Art

The upper part is pure scene: reed flowers, Xiao-Xiang, the Orange Isle, blue mist, bright moon and the little boat spread layer by layer into a clear-autumn night fishing picture; the lower part turns to the human, water for home, the awning for house, fish broth and rice, self-content in poem and wine. The language is plain as talk, without ornament; three-character and seven-character short lines skip with rhythm, deeply influenced by Zhang Zhihe's 'Angler' of the mid-Tang, showing openness amid plainness, a scattered ease rare among reclusion themes, with a clear and distant mood.

此词艺术上最突出处是上片写景、下片写人，由景入情，结构浑成。上片纯写景物，荻花、潇湘、橘洲、碧烟、明月、小艇层层铺展，如同一幅徐徐展开的清秋夜渔图：先以荻花、潇湘定下时空，次以橘洲佳景如屏画总括画面，再以碧烟、明月点染光色，最后以垂纶初罢收束动态，取景由远及近、由静入动，笔致从容。下片转入人情，以水为乡、篷作舍写居处之简，鱼羹稻饭写饮食之常，酒盈杯、书满架写精神之富，最后以名利不将心挂直揭胸襟，由生活细节上升到人生态度。全词善用三字短句与七字长句相间的句法，前六句以三个三字句领起，节奏轻快如渔歌，中间以对偶句铺排家常，收束处转用长句，声情摇曳。语言浅近如话，不假雕饰，深受中唐张志和《渔父》词的影响，却更添一分湖湘烟水的清远之气，在花间绮艳之外别开萧散一境，堪称以白描写隐逸的典范。上片三组三字句两两相对，荻花秋对潇湘夜、碧烟中对明月下，整齐中见摇曳，读来如闻渔歌节拍。

Allusions

This lyric uses no recondite allusion, winning by plain description alone. 'Angling' is the common word for fishing, from the old name of the fishing gear; 'Orange Isle' is the Orange Isle in the Xiang river at Changsha, a real place from 'Water Classic' ('the Xiang river faces the Orange Isle across'), not a tale-allusion. 'Awning for house' transforms the hermit image of 'heaven for a cover, earth for a carriage'. The whole piles no old tales, yet uses the common things of the water village to write the joy of reclusion, showing an ancient ease amid plainness, inheriting the 'matter-of-fact' spirit of the 'Book of Songs' and Han yuefu.

本词无明显深僻用典，纯以白描取胜，这是李珣隐逸词的显著特色。垂纶为垂钓的常语，源出古代钓具之称，后世遂以垂纶代指隐者的渔钓生涯，商代吕尚钓于渭水以待明主之典亦暗含其中，此处则仅取字面之意，写渔人收线归舟。橘洲指长沙湘江中的橘子洲，本于《水经注》「湘水西对橘洲」的实指地名，并非事典，却因潇湘、橘洲连用而唤起楚地云水苍茫的文化联想。篷作舍化用隐者以天为盖、以地为舆的意象，把舟居生活写得古朴自在。鱼羹稻饭、酒盈杯书满架，则承先秦以来隐者以渔樵诗酒自娱的传统，与《诗经》「衡门之下，可以栖迟」的安贫精神一脉相承。全词不堆砌故实，而借水乡寻常风物写隐逸之趣，于平淡中见古逸之致，承《诗经》与汉乐府缘事而发的写实精神，又开后世渔隐词以白描见长的先河。潇湘连称自《楚辞·九歌》湘君、湘夫人之典而来，屈原行吟泽畔、自沉汨罗的悲慨沉淀其中，使湖湘山水天然带有骚人风致，李珣取此入词，隐逸之趣中自多一分清怨。

Commentary

The modern Liu Yongji, in 'A Brief Analysis of Tang, Five-Dynasties and Two-Song Lyrics', says: 'This too takes the angler's freedom as a joy.' Later critics mostly call it 'plain in scene, without ornament, plain as talk', inheriting Zhang Zhihe's manner and opening a scattered realm apart from the ornate Huajian, enough to show the clear distance of Li Xun's reclusion lyrics, a style of its own in the 'Collection of Flowers'.

近人刘永济《唐五代两宋词简析》评此词云：此亦以渔父自由为可乐也，指出全词主旨在于以渔父生活之自由为可乐，一语中的。后世论者多称其「写景平淡，不事雕琢，明白如话」，承张志和遗风，于花间绮艳之外别开萧散一境。陈廷焯《白雨斋词话》论五代词多举秾艳之作，而李珣此词以其清疏自然独树一帜，足见隐逸题材在词体初兴之时已占有一席之地。若与张志和《渔歌子》对读，张志和以烟波钓徒自居，词境空灵超逸；李珣则更多写实笔触，鱼羹稻饭、酒书满架皆家常口吻，可见隐逸理想自中唐至五代如何一步步落实为具体的生活图景。此词在《花间集》中自成一格，为宋代隐逸词、田园词的先声，其以寻常语写高远志的手法，对苏轼、陆游等人的闲适之作亦不无启发。若论此词与张志和之异，张词空灵如仙，李词平实如话，正见词体由宫廷艳曲走向山水田园的历程，其雅俗之间的分寸把握，尤为后世词家所称道。其传世之广，正赖此等清远之作，足证李珣在花间词坛的独特价值。

Prosody

Form Ci lyric, 'Angler's Song' (Yu Ge Zi) single-tune 27 characters, four level rhymes词·《渔歌子》单调二十七字，五句四韵（仄韵变体）

Rhyme Level rhyme (hua, ba, ye, gua)韵脚为『画』『罢』『也』『挂』，依《词林正韵》属第十部仄声韵，与张志和正体平韵《渔歌子》异趣，韵位密集，短促顿挫

Tone pattern Short lines scattered, three- and seven-character intermixed; the two middle three-character lines are antithesis句式三、三、七言相间，前六句三个三字句起，中夹七字长句，节奏轻快跳宕，三字句两两相对

Reading note Huajian style, after Zhang Zhihe's Angler lyric; small in length but scattered in mood《渔歌子》本为唐教坊曲名，张志和以之写烟波钓徒生活，遂成渔隐词之祖。李珣此词沿用旧调，而改用仄韵，韵脚画罢也挂四字皆为去声或上声字，读来短促有力，与秋夜清景、渔家闲情正相契合。句式上以三字短句领起，三、三、七言相间，前六句三个三字句如渔歌节拍，轻快跳宕，中间以对偶句铺排家常，收束处转用长句，声情摇曳。这种短句错落的句法源自民歌，诵读时有如听渔歌互答，与花间词秾艳绵长的声情迥然不同。词体初兴之时，小令篇幅短小，最宜即景抒情，李珣能于二十七字内完成写景、写人、言志三层内容，可见其驾驭小令的功力，也为后世渔隐词、田园词提供了声情并茂的典范。

Line by line

荻花秋，潇湘夜，橘洲佳景如屏画

Reed flowers in autumn, a Xiao-Xiang night; the Orange Isle's fair scene like a screen-painting

秋日荻花飘飞，潇湘静夜之中，橘子洲的美景宛如屏风上的画卷。

Reed flowers in autumn, a night on the Xiao-Xiang; the beauty of Orange Islet is like a painted screen.

开篇三个短语连用，先以荻花秋点明时令，以潇湘夜点明地域，再以橘洲佳景总括画面，一句之内完成时空定位与取景构图，笔力极其简净。荻花是秋江边常见的植物，秋风中花穗飘摇，最易惹人萧疏之感；潇湘连称则唤起楚地云水苍茫的文化联想；如屏画三字以屏风上的山水画作比，既写出橘洲夜景的明净完整，也暗示词人正以赏画的目光品味眼前山水。三组短语由物到地到景，层层收拢，如镜头缓缓推近，为全词定下清远闲逸的基调，渔父形象尚未出场，其栖身的天地已气象初具，可见李珣谋篇布局的从容。

The opening strings three phrases, fixing the season through 'reed flowers in autumn,' the region through 'a night on the Xiao-Xiang,' and summing the picture in 'the beauty of Orange Islet is like a painted screen'—within one phrase completing the placing of time and space and the framing of the composition, the brush most spare. Reed flowers are the common plant of the autumn river, their plumes swaying in the autumn wind, most apt to stir a sense of bleakness; the joined 'Xiao-Xiang' evokes the cultural memory of the Chu waters, vast and misty; 'like a painted screen' compares the scene to a landscape on a screen, writing at once the clarity and completeness of the Orange Islet night and hinting that the poet tastes the waters as a viewer tastes a painting. The three phrases converge from thing to place to scene, like a lens slowly drawing near, fixing the remote, leisure keynote of the whole; before the fisherman appears, the world he dwells in has already taken shape, showing Li Xun's composure in planning the verse.

碧烟中，明月下，小艇垂纶初罢

In the blue mist, under the bright moon, the little boat's angling just done

在青碧的烟霭之中、皎洁的明月之下，小艇上垂钓的丝线刚刚收起。

In the green haze, beneath the bright moon, the small boat's fishing line has just been hauled in.

此句镜头由全景推向中景，碧烟明月写环境的光色，小艇垂纶写人物的活动，动静相生。碧烟是水汽与暮霭交融的青色，明月是秋夜最清朗的光源，一青一白，色调清冷而温润；垂纶初罢四字写渔人刚刚收起钓丝，一个罢字点出劳作告一段落，接下来的画面便是归舟与夜宴。以初字写时间之巧，既非清晨出钓，亦非整夜垂纶，而是收线归来的片刻，暗示渔人生活随性而不求多获，与下片鱼羹稻饭的知足心态暗相呼应。全句无一个形容词直接写人，而渔人从容自得的神情已跃然纸上，这正是白描手法的妙处。

This line pushes the lens from panorama to middle view, 'green haze, bright moon' writing the light and color of the setting, 'the small boat's fishing line' the person's activity, motion and stillness feeding each other. The green haze is the blue-green of water vapor and evening mist mingled; the bright moon the clearest light of the autumn night, one blue one white, the tone cool yet warm. 'The fishing line has just been hauled in' writes the fisherman just having drawn in his line, the word 'just' marking the end of his labor, the next frame being the homeward boat and the night cup. The word 'just' catches the nicety of the hour—not setting out at dawn, nor fishing all night, but the moment of hauling in and returning, hinting at the fisherman's casual life, asking not for a great catch, secretly echoing the contentment of the lower stanza's fish broth and rice. Not one adjective directly describes the person, yet the fisherman's composed, self-possessed bearing leaps to the page—precisely the wonder of plain depiction.

水为乡，篷作舍，鱼羹稻饭常餐也

Water for home, the awning for a house; fish broth and rice my daily fare

以水为家乡，以船篷为房舍，家常的鱼羹稻饭便是每日的餐食。

Water is my home, the canopy my house; fish broth and rice are my daily fare.

三句由居处写到饮食，把渔家生活写得具体而亲切。水为乡、篷作舍以对偶句式写舟居之简，一个为字、一个作字，见出词人对这种生活的坦然接受甚至主动选择；鱼羹稻饭是江南水乡最寻常的吃食，羹字、饭字皆家常口语，却因常餐也三字带出悠长满足的感叹语气。也字是句末语气词，如歌之馀韵，把安于淡泊、随遇而安的姿态写得悠然自得。值得注意的是，词人写饮食不取山珍海味，而取鱼羹稻饭，正是以简朴反衬内心之富足，与下文酒盈杯、书满架形成物质之简与精神之丰的对照，隐逸理想由此落实为一日三餐的具体生活，读来亲切而不空洞。

Three lines move from dwelling to diet, writing the fisherman's life concretely and warmly. 'Water is my home, the canopy my house' uses parallel phrasing to write the simplicity of the boat dwelling, the words 'is' and 'make' showing the poet's calm acceptance, even his active choice, of this life. 'Fish broth and rice' are the commonest fare of the Jiangnan water town, the words 'broth' and 'rice' plain everyday speech, yet the words 'are my daily fare' bring out the long, satisfied tone of the exclamation. The word 'also' is a sentence-final particle, like the lingering note of a song, writing the ease of being content with plainness and at home in whatever comes. Notably, the poet writes no delicacies but fish broth and rice, precisely setting the richness of the heart against the simplicity of the board, contrasting with the later 'wine brimming, books filling the shelf'—the simplicity of matter against the abundance of spirit, the ideal of the recluse made concrete in three meals a day, intimate and not empty.

酒盈杯，书满架，名利不将心挂

The cup full of wine, the shelf full of books; fame and gain I do not hang upon my heart

酒杯斟得满满，书架上排满诗书，功名利禄全不挂在心头。

Wine brims the cup, books fill the shelf; fame and gain I do not hang upon my heart.

结句点明全词主旨，直抒不慕荣利之怀。酒盈杯写饮酒之乐，书满架写读书之乐，一酒一书恰是古代隐者精神生活的两大支柱：酒以遣兴，书以明志，二者并举，见出词人并非消极避世，而是以诗酒自娱、以典籍自守。名利不将心挂七字是全词的题眼，不将二字下得斩截，心挂二字以俗语写内心状态，仿佛名利的牵绊原是与己无关之物，轻轻一掷便不再萦怀。盈、满二字与不挂形成强烈对照：物质的丰足尽在眼前，精神的无羁自在心头，渔父形象至此完成，实为词人自我心境的写照。全词由景入人、由人入志，层层收束于此，收得干净利落而余味不尽。

The closing states the thesis of the whole, directly voicing a heart unmoved by rank and profit. 'Wine brims the cup' writes the joy of drinking, 'books fill the shelf' the joy of reading—wine and books are the two pillars of the ancient recluse's spiritual life, wine to pass the mood, books to fix the will; the two together show the poet not negatively fleeing the world but amusing himself with poetry and wine, holding fast to the classics. The seven characters 'fame and gain I do not hang upon my heart' are the thesis of the whole; the words 'do not hang' are decisive, the words 'upon my heart' use colloquial speech for the inner state, as though the tangles of fame and profit were things foreign to him, lightly tossed off and no longer haunting him. The words 'brim' and 'fill' contrast sharply with 'do not hang': material plenty before the eyes, spiritual freedom in the heart, and the fisherman figure is at last complete, in truth the portrait of the poet's own mood. The whole moves from scene to person, from person to conviction, closing cleanly here, the afterecho long.

Study

Word focus

如屏画 Compares the Orange Isle night scene to a screen-painting; a plain yet vivid image, governing the picture-like mood of the upper part. 如屏画三字以屏风上的山水画比喻橘洲夜景，是全词第一个比喻，也是上片写景的纲领。屏风画是古人居室中常见的装饰，画中山水往往经过剪裁提炼，明净完整而富有理想色彩，以此设喻，既写出橘洲佳景本身的美丽，也暗示词人正以赏画者的眼光静观山水，物我之间保持审美的距离。这个比喻的妙处在于化实为虚：橘洲实景本是流动的、多变的，一经屏画之喻，便凝定为可供品味的画面，为下片渔父的从容登场作了铺垫。与后文水为乡、篷作舍的写实笔触相比，此处以虚写实，虚实相生，可见李珣设喻之精当。后世写洞庭、潇湘者多袭用屏画之喻，而以此词为最早的成功范例之一。

常餐也 The 'also' closes with a leisurely, self-content tone, showing ease in poverty and acceptance of circumstance. 常餐也三字以家常口吻写日常饮食，是全词由写景转入写人的关键一笔。常字强调习以为常，说明鱼羹稻饭并非偶一为之的野趣，而是日复一日的真实生活；餐字取动词用法，写进食之常；也字是句末语气词，带出悠长满足的咏叹，如渔歌之馀韵，把安贫乐道的心境写得自然流露。三个字组合起来，语气从容不迫，仿佛词人正坐在舟中细数家常，其随遇而安的姿态跃然纸上。若删去也字，句子便显得急促呆板；添此一字，全句顿生摇曳之致，可见虚词在词中的调节作用。此句与下片酒盈杯、书满架对读，物质之简与精神之富相映成趣，隐逸理想由此落实为具体的一日三餐，亲切而不空洞。

不将心挂 The word 'hang' is plain yet true, writing full release from fame and gain, a carefree openness. 不将心挂四字直揭全词主旨，是全词的题眼。将字作把、拿解，是唐五代口语，与心挂连用，把抽象的牵念写得具体可感：名利仿佛一件沉甸甸的东西，若不把它放在心上，便自然放下。挂字俗中见真，与盈杯、满架的丰足形成对照，名利的牵绊原是身外之物，轻轻一掷便不再萦怀。四字下得斩截，不字断然否定，见出词人对仕途荣利的彻底疏离，与上片垂纶初罢的从容、常餐也的满足一脉相承，渔父形象至此完成。值得玩味的是，词人并不故作清高之语，而用口语化的表述，仿佛这只是渔家生活的常识，愈平淡愈见真性情，这正是李珣隐逸词高出于一般泛咏江湖之作的地方。