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宋 Song · 诗 Poem

野色

The, Color, of, the, Wild

范仲淹

Fan Zhongyan

写景Scenery

非烟亦非雾，羃羃映楼台。
白鸟忽点破，残阳还照开。
肯随芳草歇，疑逐远帆来。
谁会山公意，登高醉始回。

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Meaning

A poem of the color and the wonder, written by Fan Zhongyan. Neither the smoke nor the mist, the dense and the dense shining the towers and the terraces — the color of the opening. The white birds suddenly breaking it through, the setting sun still shining it open — the color of the middle. Willing to follow the fragrant grass to rest, doubting to chase the distant sails to come — the wonder of the middle. And the close's who would understand the intent of the Duke of the Mountain, climbing the height drunk only then returning — the close's intent. The poem is the color and the wonder: the mist, the birds, and the close's intent.

非烟亦非雾，羃羃映楼台。白鸟忽点破，残阳还照开。肯随芳草歇，疑逐远帆来。谁会山公意，登高醉始回。

Appreciation

[Plain Paraphrase] Neither, the, smoke, nor, the, mist, the, dense, and, the, dense, shining, the, towers, and, the, terraces. The, white, birds, suddenly, breaking, it, through, the, setting, sun, still, shining, it, open. Willing, to, follow, the, fragrant, grass, to, rest, doubting, to, chase, the, distant, sails, to, come. Who, would, understand, the, intent, of, the, Duke, of, the, Mountain, climbing, the, height, drunk, only, then, returning. [Structure and Thought] The poem moves from the color of the neither the smoke nor the mist with the dense and the dense, through the breaking of the birds and the shining of the sun, to the close's the intent of the Duke of the Mountain. [Key Technique] The poem's art is the close of the intent: willing to follow the fragrant grass to rest, and the close's who would understand the intent of the Duke of the Mountain climbing the height drunk only then returning — the color gathered in the wonder and the close's intent. [Emotional Tone] Fine, wondering, and free: the poem is the mist, the birds and the close's intent.

【白话串讲】范仲淹写《野色》：“非烟亦非雾，羃羃映楼台”——“白鸟忽点破，残阳还照开”——“肯随芳草歇，疑逐远帆来”——“谁会山公意，登高醉始回”——他写暮色中的野景。【意象与手法】此诗写野色，以闲适写野色，是范仲淹的名篇。前二联写野色：「非烟亦非雾，羃羃映楼台。白鸟忽点破，残阳还照开」写非烟亦非雾、羃羃映楼台——写尽残阳还照的点破；后二联写闲适：「肯随芳草歇，疑逐远帆来。谁会山公意，登高醉始回」写肯随芳草歇、疑逐远帆来——写尽登高醉始的山公意。全诗以闲适写野色，写尽残阳还照的点破与登高醉始的山公意，是范仲淹的代表作。【情感与主旨】此诗写野色，以闲适写野色，是范仲淹的名篇。此诗为范仲淹咏野色之作，写其野色中的闲适与遥想。范仲淹此诗写春日原野的野色。此诗写非烟亦非雾，羃羃映楼台；白鸟忽点破，残阳还照开；肯随芳草歇，疑逐远帆来；谁会山公意，登高醉始回。此诗写野色：非烟亦非雾，羃羃映楼台——写非烟亦非雾、羃羃映楼台，写尽羃羃映楼的楼台；白鸟忽点破，残阳还照开——写白鸟忽点破、残阳还照开，写尽残阳还照的点破；肯随芳草歇，疑逐远帆来——写肯随芳草歇、疑逐远帆来，写尽疑逐远帆的远帆来；谁会山公意，登高醉始回——写谁会山公意、登高醉始回，写尽登高醉始的山公意。全诗以闲适写野色——那「残阳还照开」写尽残阳还照的点破，「登高醉始回」写尽登高醉始的山公意，写尽残阳还照的点破与登高醉始的山公意，是理解范仲淹写景诗的重要篇章。【名句点睛】常考「非烟亦非雾，羃羃映楼台」写羃羃映楼的楼台；「谁会山公意，登高醉始回」写登高醉始的山公意；以及全诗以闲适写野色、以白描+设问写野色的手法。

Background

Fan Zhongyan (989-1052), the statesman and the poet of the Song, wrote this 'The, Color, of, the, Wild' of the color and the wonder — the wonder of the wild color. The neither the smoke nor the mist with the dense and the dense, the breaking of the birds, and the close's the intent of the Duke of the Mountain — the poem gathers the wonder of the poet, the freedom of the appreciation. The poem is one of the famous works of the poet's poems of the scenes.

此诗写野色，以闲适写野色，是范仲淹的名篇。范仲淹（989—1052），字希文，苏州吴县（今江苏苏州）人，北宋政治家、文学家，官至参知政事，谥文正，世称「范文正公」，有「先天下之忧而忧，后天下之乐而乐」之名言。此诗为范仲淹咏野色之作，写其野色中的闲适与遥想。范仲淹此诗写春日原野的野色。此诗写非烟亦非雾，羃羃映楼台；白鸟忽点破，残阳还照开；肯随芳草歇，疑逐远帆来；谁会山公意，登高醉始回。此诗写野色：「非烟亦非雾，羃羃映楼台」写非烟亦非雾、羃羃映楼台——写尽羃羃映楼的楼台（非烟亦非雾，羃羃映楼台）；「白鸟忽点破，残阳还照开」写白鸟忽点破、残阳还照开——写尽残阳还照的点破（白鸟忽点破，残阳还照开）；「肯随芳草歇，疑逐远帆来」写肯随芳草歇、疑逐远帆来——写尽疑逐远帆的远帆来（肯随芳草歇，疑逐远帆来）；「谁会山公意，登高醉始回」写谁会山公意、登高醉始回——写尽登高醉始的山公意（谁会山公意，登高醉始回）。全诗以闲适写野色，写尽残阳还照的点破与登高醉始的山公意，是理解范仲淹写景诗的重要篇章。

Art

The poem's art is the art of the intent. The color opens: neither, the, smoke, nor, the, mist — the neither of the smoke nor the mist; the, dense, and, the, dense, shining, the, towers, and, the, terraces — the dense and the dense of the towers. The wonder follows: the, white, birds, suddenly, breaking, it, through — the white birds of the breaking; the, setting, sun, still, shining, it, open — the setting sun of the shining; willing, to, follow, the, fragrant, grass, to, rest — the fragrant grass of the following; doubting, to, chase, the, distant, sails, to, come — the distant sails of the chasing. And the close gathers the intent: who, would, understand, the, intent, of, the, Duke, of, the, Mountain — the Duke of the Mountain of the intent; climbing, the, height, drunk, only, then, returning — the drunk of the climbing — the color, the wonder and the close's intent, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以白描写野色。「非烟亦非雾」以白描写野色——那「羃羃映楼台」写尽羃羃映楼的楼台，以白描写尽羃羃映楼的楼台。其二，以动静写野色。「白鸟忽点破」以动静写野色——那「残阳还照开」写尽残阳还照的点破，以动静写尽残阳还照的点破。其三，以拟人写野色。「肯随芳草歇」以拟人写野色——那「疑逐远帆来」写尽疑逐远帆的远帆来，以拟人写尽疑逐远帆的远帆来。其四，以设问写闲适。「谁会山公意」以设问写闲适——那「登高醉始回」写尽登高醉始的山公意，以设问写尽登高醉始的山公意。此外，此诗前写残阳还照的点破，后写登高醉始的山公意，由景及情，正是写景诗「以景写情」的写法。四重手法，使此诗以闲适写野色，写尽残阳还照的点破与登高醉始的山公意，是范仲淹的代表作。又，此诗首句「非烟亦非雾」以否定起笔，写野色之迷离难状，故只能以「羃羃」形容其蒙覆之态；「白鸟忽点破，残阳还照开」一「破」一「开」，以动写静、以明写暗，野色因白鸟与残阳而活；「肯随芳草歇，疑逐远帆来」以拟人笔法，写野色似随芳草而止、又疑逐远帆而来，飘忽无定；末以「山公醉」典故作结，自比山简，醉卧习池，正是范仲淹「于庙堂忧乐之外，别有一种山水闲情」的写照。

Allusions

'The Duke of the Mountain' (shan gong) is the Duke of the Mountain — the Shan Jian, the drunk of the close; 'the climbing the height' (deng gao) is the climbing the height — the climbing of the height, the drunk of the close.

此诗的用语深植于写景与闲适传统。「非烟亦非雾」令人想到「非烟亦非雾」写云气的意象——也令人想到「烟非烟，云非云」的意象；「羃羃」令人想到「羃羃」写蒙覆的意象——也令人想到「羃羃轻阴」的意象；「楼台」令人想到「楼台」写楼台的意象——也令人想到「楼台倒影入池塘」（高骈）的意象；「白鸟」令人想到「白鸟」写白鸟的意象——也令人想到「白鸟一双临水立」的意象；「点破」令人想到「点破」写点破的意象——也令人想到「一鸟点破春烟」的意象；「残阳」令人想到「残阳」写残阳的意象——也令人想到「残阳如血」（毛泽东）的意象；「照开」令人想到「照开」写照开的意象——也令人想到「残阳照开」的意象；「芳草」令人想到「芳草」写芳草的意象——也令人想到「芳草萋萋鹦鹉洲」（崔颢）的意象；「远帆」令人想到「远帆」写远帆的意象——也令人想到「孤帆远影碧空尽」（李白）的意象；「山公」令人想到「山公」写山简的意象——《晋书》山简镇襄阳，每出游醉于习家池，也令人想到「山公醉」的意象；「登高」令人想到「登高」写登高的意象——也令人想到「登高壮观天地间」（李白）的意象；「醉始回」令人想到「醉始回」写醉归的意象——也令人想到「日暮倒载归，酩酊无所知」的意象。全诗化用非烟亦非雾、羃羃、楼台、白鸟、点破、残阳、照开、芳草、远帆、山公、登高、醉始回的意象典故，以闲适写野色，正是范仲淹「开阔」而善白描、承谢朓山水传统写野色之本领。

Commentary

This poem is one of the famous works of Fan Zhongyan's poems of the scenes, quoted for the vagueness of its opening and the freedom of its close. The white birds of the breaking, and the Duke of the Mountain of the intent, are among the admired passages of the poet's poems. Critics praise the poem's wonder: the color gathered in the changes, to the close's intent.

此诗历来被推为范仲淹写景诗的名篇，也是宋诗写野色烟光幽微的代表。历代论者对此诗评价极高：宋人评此诗「以闲适写野色，开阔淡远」；近人更指出「非烟亦非雾，羃羃映楼台」写羃羃映楼的楼台，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以律诗写尽残阳还照的点破与登高醉始的山公意——那非烟，那亦非雾，那羃羃，那映楼台，那白鸟，那忽点破，那残阳，那还照开，那肯随，那芳草歇，那疑逐，那远帆来，那谁会，那山公意，那登高，那醉始回，都写尽了范仲淹笔下的野色；那「白鸟忽点破，残阳还照开」更以动静写尽残阳还照的点破。此诗与范仲淹《苏幕遮·碧云天》「碧云天，黄叶地」同为秋景名篇，一写「山映斜阳天接水」的苏幕遮，一写「羃羃映楼台」的野色；一写秋，一写春。两作对读，可见范仲淹写景的两面。对于今日读者，此诗是理解范仲淹写景诗的窗口，也是宋诗写野色烟光幽微的经典——那登高醉始的山公意，穿越千年，仍在诉说着残阳还照的点破。

Prosody

Form A regulated poem of the scenes (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 free wonder.五律押「台」「开」「来」「回」（平声灰佳韵），一韵到底

Tone pattern The cadence is that of the intent: the level opening with the color, the turning with the wonder, and the close's fall with the returning.此诗为五言律诗，押平声韵，一韵到底，音节淡远，正合闲适的淡远。

Reading note The poem's sound matches its freedom: the cadences of the regulated poem, and the close — 'deng gao zui shi hui' — falls with the returning, the sound of the wonder of the scene poet.此诗为五言律诗——「非烟亦非雾，羃羃映楼台。白鸟忽点破，残阳还照开。肯随芳草歇，疑逐远帆来。谁会山公意，登高醉始回」，押平韵（台、开、来、回），一韵到底，音节淡远。全诗以闲适写野色：前写残阳还照的点破（非烟亦非雾、白鸟忽点破），后写登高醉始的山公意（肯随芳草歇、谁会山公意）。律诗八句，前写野色，后写闲适，以「登高醉始回」写尽登高醉始的山公意，正见范仲淹「开阔」的本色。诵读此诗，宜以淡远的语调读「羃羃映楼台」的野色，以超脱的语调读「登高醉始回」的闲适，结句要读得淡远而有余韵，方能传达出范仲淹的开阔淡远。范仲淹律诗以「开阔」著称，此诗正是其写景诗的典范。

Line by line

白鸟忽点破，残阳还照开

A white bird suddenly dots the scene; the setting sun breaks through and shines out.

白鸟忽点破，残阳还照开。

A white bird suddenly pierces the view; the westering sun again breaks clear and lights it up.

此二句是全诗写野色的核心，以白鸟忽点破写点破，以残阳还照开写照开，写尽残阳还照的点破，是千古名句。「白鸟忽点破」写白鸟忽点破——那「白鸟」写白鸟，「忽点破」写忽点破，写尽白鸟的忽点破；「残阳还照开」写残阳还照开——那「残阳」写残阳，「还照开」写还照开，写尽残阳的还照开。这句的深意在于：它以「白鸟忽点破」的点破与「残阳还照开」的照开，写尽残阳还照的点破——白鸟忽点破，那「白鸟忽点破」写尽白鸟的忽点破——白鸟忽点破，正是白鸟点破的写照，那「点破」写尽残阳还照的点破；残阳还照开，那「残阳还照开」写尽残阳的还照开——残阳还照开，正是残阳照开的写照，那「照开」写尽残阳还照的点破；那「白鸟忽点破」写尽白鸟的忽点破，那「残阳还照开」写尽残阳的还照开，一写点破，一写照开，写尽残阳还照的点破——白鸟点破而残阳照开，正是野色的写照；此二句以点破、照开写尽残阳还照的点破，也为下文的芳草作铺垫，也让此二句成为全诗写野色的核心与千古名句。若换作直说「白鸟忽然点破，残阳又照开」，则失其灵动；唯以「白鸟忽点破」写点破、「残阳还照开」写照开，写尽残阳还照的点破，也让此二句成为全诗写野色的核心。

These lines are the wild-color heart of the poem, the white bird piercing the view and the sun breaking through. 'A white bird suddenly dots it' writes the lone bird's flight as a bright mark on the vast landscape; 'the setting sun breaks through and shines out' gives the clouds' parting and the light's return. The 'suddenly' and 'again' trace the instant's change—the bird crosses, the sun opens—catching the wild scenery in motion. If stated as 'a bird flew past and the sun came out,' the liveliness would fade; only through the 'dot' and the 'shine open' does the landscape quicken.

谁会山公意，登高醉始回

Who understands the intent of Master Shan? Only when drunk, climbing the height, does he return.

谁会山公意，登高醉始回。

Who can grasp Master Shan's mood? He climbs the heights and comes back only when drunk.

此二句是全诗写闲适的核心，以谁会山公意写山公意，以登高醉始回写醉始回，写尽登高醉始的山公意，是千古名句。「谁会山公意」写谁会山公意——那「谁会」写谁会，「山公意」写山公意，写尽谁会的山公意；「登高醉始回」写登高醉始回——那「登高」写登高，「醉始回」写醉始回，写尽登高的醉始回。这句的深意在于：它以「谁会山公意」的山公意与「登高醉始回」的醉始回，写尽登高醉始的山公意——谁会山公意，那「谁会山公意」写尽谁会的山公意——谁会山公意，正是无人会意的写照，那「山公意」写尽登高醉始的山公意；登高醉始回，那「登高醉始回」写尽登高的醉始回——登高醉始回，正是登高醉归的写照，那「醉始回」写尽登高醉始的山公意；那「谁会山公意」写尽谁会的山公意，那「登高醉始回」写尽登高的醉始回，一写山公意，一写醉始回，写尽登高醉始的山公意——无人会意而登高醉归，正是闲适的写照；此二句以山公意、醉始回写尽登高醉始的山公意，也让此二句成为全诗写闲适的核心与千古名句。若换作直说「谁能领会山公的意趣，登高喝醉了才回来」，则失其淡远；唯以「谁会山公意」写山公意、「登高醉始回」写醉始回，写尽登高醉始的山公意，也让此二句成为全诗写闲适的核心。

These lines are the leisure heart of the poem, the Master Shan allusion and the drunken return. 'Who understands Master Shan's intent' alludes to Shan Jian of the Jin, who was known to roam the hills, often returning drunk; 'only when drunk, climbing the height, does he return' pictures the carefree wanderer. The 'who understands' is at once the poet's self-questioning and his claim to be the kindred spirit. If stated as 'who understands me, roaming drunk,' the distance would fade; only through the Master Shan allusion does the ease become classical.

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Word focus

破 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「白鸟忽点破」之「破」字是写野色关键词，一个「破」字写尽白鸟的忽点破。破者，点破、划破也。范仲淹以「白鸟忽点破」写野色，这个「破」字至少有双重意味：其一，写色之破——那「白鸟忽点破」写白鸟忽点破，那「破」字写尽白鸟的忽点破——点破，正是鸟点野色的写照，那「破」字写尽白鸟的忽点破；其二，写景之活——那「破」字更是写活——破，正见静中有动的意味，那「破」字写尽范仲淹的灵动。以「破」字写野色，正是范仲淹写闲适的枢纽——若换作「划」「穿」等字，则或失其与「白鸟忽点破」「残阳还照开」的配合，或失其写破的意味；唯「破」字，以白鸟忽点破写尽野色之幽静与白鸟之灵动，与「残阳还照开」的照开相合，写尽白鸟的忽点破，也让「白鸟忽点破」成为全诗写野色的名句。

醉 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「登高醉始回」之「醉」字是写闲适关键词，一个「醉」字写尽登高的醉始回。醉者，醉饮、沉醉也。范仲淹以「登高醉始回」写闲适，这个「醉」字至少有双重意味：其一，写身之醉——那「登高醉始回」写登高醉始回，那「醉」字写尽登高的醉始回——醉始回，正是醉后方归的写照，那「醉」字写尽登高的醉始回；其二，写情之酣——那「醉」字更是写酣——醉，正见陶醉山水的意味，那「醉」字写尽范仲淹的闲适。以「醉」字写闲适，正是范仲淹写野色的枢纽——若换作「酣」「乐」等字，则或失其与「登高醉始回」「谁会山公意」的配合，或失其写醉的意味；唯「醉」字，以登高醉始回写尽醉归之态与陶醉之情，与「谁会山公意」的山公意相合，写尽登高的醉始回，也让「登高醉始回」成为全诗写闲适的名句。

野色