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唐 Tang · 诗 Poem

耶溪泛舟

The, Boating, on, the, Creek, of, the, Ye

孟浩然

Meng Haoran

山水Landscape 闲适Leisure

落景余清辉，轻桡弄溪渚。
泓澄爱水物，临泛何容与。
白首垂钓翁，新妆浣纱女。
相看似相识，脉脉不得语。

Listen

Meaning

A poem of the creek and the ease, written by Meng Haoran. The falling light the remaining clear radiance, the light oars playing on the isles of the creek — the creek of the opening. The deep and the clear loving the things of the water, facing the water how easy and leisurely — the ease of the middle. The white haired old man of the angling, the newly dressed girl of the washing the silk — the people of the middle. And the close's looking at each other as if acquainted, the silent and the silent not able to speak — the close's silence. The poem is the creek and the ease: the oars, the people, and the close's silence.

落日的余辉洒在水面，我轻轻摇着船桨，在溪中小洲间游赏。溪水澄澈，我喜爱这水中的景物，泛舟其上，何等从容自适。岸边有白发的老翁在垂钓，有新妆的浣纱少女。我们相视，仿佛似曾相识，却脉脉相对，说不出一句话。

Appreciation

[Plain Paraphrase] The, falling, light, the, remaining, clear, radiance, the, light, oars, playing, on, the, isles, of, the, creek. The, deep, and, the, clear, loving, the, things, of, the, water, facing, the, water, how, easy, and, leisurely. The, white, haired, old, man, of, the, angling, the, newly, dressed, girl, of, the, washing, the, silk. Looking, at, each, other, as, if, acquainted, the, silent, and, the, silent, not, able, to, speak. [Structure and Thought] The poem moves from the creek of the falling light with the light oars, through the ease of the loving the things with the old man and the girl, to the close's the silence of the not able to speak. [Key Technique] The poem's art is the close of the silence: the white haired old man of the angling, and the close's looking at each other as if acquainted the silent and the silent not able to speak — the creek gathered in the people and the close's silence. [Emotional Tone] Fine, easy, and gentle: the poem is the oars, the people and the close's silence.

【白话串讲】孟浩然写《耶溪泛舟》：“落景余清辉，轻桡弄溪渚”——“泓澄爱水物，临泛何容与”——“白首垂钓翁，新妆浣纱女”——“相看似相识，脉脉不得语”——他写耶溪的黄昏。【意象与手法】此诗写耶溪泛舟的闲适与偶遇，是孟浩然山水诗的名篇。起句「落景余清辉，轻桡弄溪渚」写落日余辉、轻舟弄洲，画面明净安闲；「泓澄爱水物，临泛何容与」写溪水澄澈、泛舟从容，「何容与」写尽悠然自得；「白首垂钓翁，新妆浣纱女」以白首钓翁与浣纱少女相对，写出耶溪两岸的田园生活；结句「相看似相识，脉脉不得语」写偶遇路人的默契，化用《古诗十九首》「盈盈一水间，脉脉不得语」，含蓄隽永。全诗以清淡之笔写山水之乐，正是孟浩然「清旷淡远」诗风的代表。【情感与主旨】此诗为孟浩然漫游越中时泛舟耶溪（今浙江绍兴若耶溪）所作。耶溪即若耶溪，在绍兴南，相传为西施浣纱之处，溪水清澄，两岸风光如画，是江南名溪。孟浩然漫游吴越，泛舟耶溪，正值落日余辉、溪水澄澈，诗人摇桨泛舟，悠游自在，遂作此诗。诗中的「白首垂钓翁」「新妆浣纱女」，正是耶溪两岸的寻常人物；那「相看似相识，脉脉不得语」的偶遇，更写出诗人与这方山水人物的默契。全诗以闲适之笔写山水田园之乐，寄寓了诗人对隐逸生活的向往。【名句点睛】常考「落景余清辉，轻桡弄溪渚」的明净画面；「泓澄爱水物，临泛何容与」的闲适心境；「白首垂钓翁，新妆浣纱女」的工对与田园意象；结句「相看似相识，脉脉不得语」化用《古诗十九首》的含蓄隽永；以及全诗清淡自然、情景交融的山水诗风。

Background

Meng Haoran (689-740), the poet of the Tang, wrote this 'The, Boating, on, the, Creek, of, the, Ye' of the creek and the ease — the ease of the boating in the evening. The falling light with the light oars, the old man of the angling, and the close's the silence of the not able to speak — the poem gathers the ease of the poet, the charm of the creek. The poem is one of the famous works of the poet's poems of the nature.

此诗为孟浩然漫游越中时泛舟耶溪所作，约作于开元十八年（730）前后。孟浩然（689—740），字浩然，襄州襄阳（今湖北襄阳）人，盛唐山水田园诗派的代表诗人，与王维并称「王孟」。孟浩然早年隐居鹿门山，四十岁游长安应进士不第，遂漫游吴越。越中是今浙江绍兴一带的古称，境内山水秀美，人文荟萃，耶溪（即若耶溪）在绍兴城东南，源出若耶山，北流入镜湖，相传春秋时越国美女西施曾在此浣纱，故又名浣纱溪，溪水澄澈，两岸青山掩映，是江南著名的风景胜地，南朝诗人王籍《入若耶溪》有「蝉噪林逾静，鸟鸣山更幽」的名句，可见其风光之胜。孟浩然泛舟耶溪，正值落日余辉、溪水澄澈之际，诗人摇桨泛舟，见白首钓翁、浣纱少女，悠然自得，遂写下这首山水诗。诗中「落景余清辉」写落日余辉洒落水面，「轻桡弄溪渚」写轻摇船桨于溪洲之间，「泓澄爱水物」写溪水澄澈可爱，「临泛何容与」写泛舟的从容自适，皆是耶溪泛舟的实景与心境。孟浩然一生向往隐逸，漫游越中正是其「隐逸与漫游」生活方式的一部分，此诗所写的耶溪泛舟之乐，正寄寓了诗人对山水田园生活的热爱与闲适自得的情怀。

Art

The poem's art is the art of the silence. The creek opens: the, falling, light, the, remaining, clear, radiance — the falling light of the remaining radiance; the, light, oars, playing, on, the, isles, of, the, creek — the light oars of the isles. The ease follows: the, deep, and, the, clear, loving, the, things, of, the, water — the deep and the clear of the loving; facing, the, water, how, easy, and, leisurely — the easy of the facing; the, white, haired, old, man, of, the, angling — the white haired old man of the angling; the, newly, dressed, girl, of, the, washing, the, silk — the newly dressed girl of the washing. And the close gathers the silence: looking, at, each, other, as, if, acquainted — the looking of the acquainted; the, silent, and, the, silent, not, able, to, speak — the silent of the not able to speak — the creek, the people and the close's silence, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以光写水的起笔。首联「落景余清辉，轻桡弄溪渚」写落日余辉洒落溪面——「落景」写落日，「余清辉」写落日余辉的清朗，以光写水，画面明净；「轻桡弄溪渚」写轻摇船桨、于溪洲间游赏，「轻」「弄」二字写尽泛舟的轻快自得。其二，以情写景的闲适。「泓澄爱水物，临泛何容与」写溪水澄澈、泛舟从容——「泓澄」写水之清澈，「爱水物」写对水中景物的喜爱，「何容与」以反问写尽从容自适，情与景融。其三，以对写人的田园。「白首垂钓翁，新妆浣纱女」以「白首」对「新妆」、「垂钓翁」对「浣纱女」，写出耶溪两岸老翁垂钓、少女浣纱的田园生活，对仗工整而意象明丽，暗合若耶溪浣纱的传说。其四，以沉默写默契的收束。结句「相看似相识，脉脉不得语」写偶遇路人的默契——「相看」写相视，「似相识」写仿佛相识，「脉脉不得语」写默默相对说不出话，化用《古诗十九首》「盈盈一水间，脉脉不得语」，以沉默写尽相逢的默契与淡淡的怅惘。四重手法，使此诗以清淡之笔写山水田园之乐，正是孟浩然「清旷淡远」诗风的代表。

Allusions

'The creek of the Ye' (ye xi) is the creek of the Ye — the creek of the Ye, the boating of the opening; 'the washing the silk' (huan sha) is the washing the silk — the washing of the silk, the girl of the middle; 'the silent and the silent' (mo mo) is the silent and the silent — the silent of the gazing, the close of the poem.

此诗的用语深植于山水与越中的传统。「耶溪」即若耶溪，令人想到王籍《入若耶溪》「蝉噪林逾静，鸟鸣山更幽」的名句，也令人想到「耶溪采莲女，见客棹歌回」（李白《越女词》）的越中意象——耶溪自古是文人泛舟吟咏之地；「浣纱女」暗合西施浣纱的传说——若耶溪是西施浣纱之处，「浣纱」令人想到「浣纱溪」的得名，也令人想到「苎萝山下浣纱人」的越女传统；「白首垂钓翁」令人想到「姜太公钓鱼」的垂钓意象，也令人想到「舟如空里泛，人似镜中行」的镜湖泛舟传统；「脉脉不得语」直接化用《古诗十九首·迢迢牵牛星》「盈盈一水间，脉脉不得语」，以牛郎织女隔河相望的意象写相逢的沉默，含蓄隽永。全诗化用耶溪、越女、垂钓、脉脉的传统意象，以清淡之笔写山水田园之乐，正是孟浩然「兴象玲珑」诗风的本领。此外，「轻桡弄溪渚」之「弄」字承南朝民歌「荡舟戏绿水」的传统，写泛舟自娱；「临泛何容与」之「容与」直用屈原《九歌·湘夫人》「时不可兮骤得，聊逍遥兮容与」，以湘水之畔的逍遥写耶溪泛舟的从容，见出诗人对楚辞意象的化用；「垂钓翁」与「浣纱女」并置，更令人想到「白发渔樵江渚上」的渔隐意象与「浣纱」的越女传说，一翁一女、一钓一浣，正暗合「溪头垂钓」「溪畔浣纱」的田园画卷，与王维「竹喧归浣女，莲动下渔舟」的山水意象相通。

Commentary

This poem is one of the famous works of Meng Haoran's poems of the nature, quoted for the ease of its opening and the gentleness of its close. The light oars of the isles, and the silent of the not able to speak, are among the admired passages of the poet's poems. Critics praise the poem's ease: the creek gathered in the people, to the close's silence.

此诗历来被推为孟浩然山水诗的名篇，也是其「清旷」诗风的代表。历代论者对此诗评价极高：明人评此诗「落景清辉，轻桡溪渚，写尽耶溪之胜」；清人更指出「白首垂钓翁，新妆浣纱女」的工对与「脉脉不得语」的含蓄，是孟浩然五古的典范。在诗歌史上，此诗的特殊价值在于：它以清淡之笔写尽耶溪泛舟的闲适与山水田园之乐——那落日的余辉，那澄澈的溪水，那白首的钓翁，那浣纱的少女，那脉脉相对的沉默，都写尽了这位「田园诗人」漫游越中的惬意；那「相看似相识，脉脉不得语」以沉默写默契，更是千古名句。此诗与孟浩然的《过故人庄》（「故人具鸡黍」）同为写田园之乐的名篇，一写田家访友，一写耶溪泛舟；又与王维的山水诗一脉相承，可见盛唐山水田园诗「清淡自然」的共同追求。对于今日读者，此诗是理解孟浩然山水诗与「清旷」诗风的窗口，也是中国诗写山水田园的经典——那落景清辉的耶溪，穿越千年，仍在诉说着一位诗人泛舟其中的闲适与惬意。

Prosody

Form An old poem of the creek (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 gentle ease.此诗为五古，韵脚（辉、渚、物、与、女、语）自然押韵，不拘平仄，音韵清和

Tone pattern The cadence is that of the silence: the level opening with the creek, the turning with the people, and the close's fall with the speak.此诗为五言古诗，八句，不受近体格律束缚，句式平稳，节奏舒缓，正合闲适的情调。

Reading note The poem's sound matches its gentleness: the cadences of the old poem, and the close — 'mo mo bu de yu' — falls with the speak, the sound of the ease of the creek poet.此诗为五言古诗，八句四联：首联写景（落景余清辉，轻桡弄溪渚），颔联写情（泓澄爱水物，临泛何容与），颈联写人（白首垂钓翁，新妆浣纱女），尾联写遇（相看似相识，脉脉不得语）。作为古体诗，此诗不受近体格律的平仄对仗束缚，句式自由而平稳，韵脚「辉、渚、物、与、女、语」自然押韵（古韵鱼部），音韵清和，正合闲适的情调。全诗以五言的平稳节奏，写耶溪泛舟的悠闲——首联以「落景」「清辉」写黄昏溪景，颔联以「泓澄」「容与」写泛舟闲适，颈联以「垂钓翁」「浣纱女」写田园人物，尾联以「脉脉不得语」写偶遇默契，层次分明而一气呵成。诵读此诗，宜以舒缓清和的语调，读「落景余清辉」的明净、「临泛何容与」的闲适、以及「脉脉不得语」的含蓄，方能传达出耶溪泛舟的悠然自得。孟浩然诗以清淡自然著称，此诗正是其五古山水诗的典范。

Line by line

落景余清辉，轻桡弄溪渚

The setting sun leaves a clear afterglow; with a light oar I play about the islets.

落日的余辉洒在水面，我轻轻摇着船桨，在溪中小洲间游赏。

The sinking sun leaves a pure radiance; with a light oar I linger among the stream's islets.

此联是全诗的起笔，以光写水、以动作写闲适。「落景余清辉」写落日余辉洒落——那「落景」写落日西沉，「余清辉」写落日余辉的清朗，以光写水，画面明净安闲；「轻桡弄溪渚」写轻摇船桨、于溪洲间游赏——那「轻桡」写轻轻摇桨，那「弄溪渚」写在小洲间游赏，「轻」「弄」二字写尽泛舟的轻快自得。这句的深意在于：它以「落景余清辉」的明净画面与「轻桡弄溪渚」的轻快动作，写出诗人泛舟耶溪的闲适——落日余辉洒满溪面，诗人轻摇船桨，悠游于溪洲之间，那「清辉」写尽黄昏溪水的明净，那「轻弄」写尽泛舟的从容；若换作「夕阳照水面，我划船游玩」之类的直说，则失其画面与韵味；唯以「余清辉」写光、「轻桡弄」写动作，写尽耶溪泛舟的明净与闲适，也让此联成为全诗清新明丽的起笔。那「落景」写夕阳西下，「余清辉」写落日余晖的清光，「轻桡弄溪渚」写轻舟从容地划过溪边沙洲；光与影、动与静相映，正是耶溪黄昏的明净画面。

This couplet opens the poem, the afterglow on the water and the light oar at the islets. 'The setting sun leaves a clear glow' pictures the bright dusk on the stream; 'a light oar, playing about the islets' writes the easy paddling. The words 'light' and 'play' give the boat its unhurried freedom. Light and motion, clear glow and light oar, set the serene evening of the Ye Stream. If stated as 'the sun set on the water and I rowed around,' the picture and flavor would vanish; only through 'clear afterglow' and 'light oar playing' does the evening become luminous.

泓澄爱水物，临泛何容与

The deep clear water—I love its creatures; drifting on it, how free and at ease.

溪水澄澈，我喜爱这水中的景物，泛舟其上，何等从容自适。

The stream runs deep and clear; I love its living things. Afloat upon it, how serene and unhurried.

此联写泛舟耶溪的闲适心境，是理解全诗闲适之乐的关键。「泓澄爱水物」写溪水澄澈、喜爱水中景物——那「泓澄」写水之清澈深邃，「爱水物」写对水中景物的喜爱，情与景融；「临泛何容与」写泛舟其上的从容——那「临泛」写临水泛舟，那「何容与」以反问写尽从容自适，那「容与」本有逍遥、从容之意。这句的深意在于：它以「泓澄」写溪水之清澈，以「爱水物」写喜爱之情，以「何容与」写泛舟之从容，层层写出诗人泛舟耶溪的闲适自得——溪水那样清澈，水中景物那样可爱，泛舟其上，何等逍遥；那「何容与」的反问，更写尽诗人陶醉于山水之间的悠然。若换作直说「我很喜欢这里」，则失其情韵；唯以「泓澄」「容与」写水与心境，写尽山水之乐，也让此联成为全诗闲适之情的点睛之笔。「泓澄」写水之清深，「爱水物」写爱水中的景物，「何容与」以反问写游赏的从容不迫；三句之间，写尽诗人临水泛舟、悠然自得的情怀。

This couplet writes the boating mood, the clear water loved and the drifting at ease. 'Deep clear, I love the water's creatures' fuses feeling with scene—the clarity of the stream, the affection for all that swims in it. 'Drifting on it, how free' answers with a rhetorical question on the ease of gliding, 'free' meaning unhurried, wandering. The couplet is the key to the poem's pleasure in hills and streams. If stated as 'I love it here,' the charm would fade; only through 'deep clear' and 'how free' does the water and mood merge.

相看似相识，脉脉不得语

We look at each other as if we had met; with tender eyes, we cannot speak.

我们相视，仿佛似曾相识，却脉脉相对，说不出一句话。

We gaze at each other as though acquainted; silently, with deep feeling, no word passes.

此联是全诗的情感收束，以沉默写默契，含蓄隽永。「相看似相识」写相视而似曾相识——那「相看」写彼此相视，「似相识」写仿佛在哪见过，写偶遇路人的微妙感觉；「脉脉不得语」写默默相对说不出话——那「脉脉」写含情相视的样子，那「不得语」写说不出话，化用《古诗十九首》「盈盈一水间，脉脉不得语」。这句的深意在于：它以「似相识」与「不得语」的对照，写出相逢的默契与淡淡的怅惘——耶溪泛舟，偶遇白首钓翁、浣纱少女，彼此相视，仿佛相识，却默默相对，说不出话；那「似相识」写尽山水之间的亲切，那「脉脉不得语」写尽相逢的沉默与含蓄。尤其「脉脉不得语」化用古诗，以牛郎织女隔河相望的意象写相逢的沉默，含蓄隽永。若换作直说「我们相视一笑」，则失其含蓄；唯以「似相识」与「脉脉不得语」写默契与沉默，写尽相逢的微妙情愫，也让此联成为全诗最隽永的一笔。化用《古诗十九首》「盈盈一水间，脉脉不得语」之句，写尽欲语还休的情愫。

This couplet closes the poem,默契 through silence, reserved and enduring. 'We look, as if acquainted' writes the chance meeting with the old fishermen and washerwomen on the stream, a sense of having met before; 'tender-eyed, unable to speak' adapts the Nineteen Old Poems' 'so soft across the water, unable to speak.' The silent exchange of strangers joined by the river carries a tender, wordless understanding. If stated as 'we smiled at each other,' the reserve would vanish; only through 'as if acquainted' and 'unable to speak' does the meeting become lasting.

Study

Word focus

容与 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「临泛何容与」之「容与」是写闲适的关键字，一个「容与」写尽泛舟的从容自适。容与者，从容闲舒、逍遥自得也，出自屈原《九歌》「时不可兮骤得，聊逍遥兮容与」。孟浩然以「何容与」写泛舟耶溪，这个「容与」至少有双重意味：其一，写动作之从容——那「容与」写泛舟时摇桨的从容闲舒，不疾不徐，写尽泛舟的逍遥自在；其二，写心境之闲适——那「容与」更是写心境——诗人陶醉于山水之间，悠然自得，那「容与」写尽心境的闲适安详。以「容与」写泛舟，正是孟浩然写闲适的枢纽——若换作「悠然」「逍遥」等词，则或失其古雅，或失其与《九歌》的关联；唯「容与」二字，以屈原《九歌》的逍遥之意写泛舟的从容，写尽山水之乐与闲适之心，也让「临泛何容与」成为写闲适的名句。

脉脉 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「脉脉不得语」之「脉脉」是写默契的关键字，一个「脉脉」写尽相逢的沉默与深情。脉脉者，含情相视的样子，也作「脈脈」，出自《古诗十九首》「盈盈一水间，脉脉不得语」。孟浩然以「脉脉不得语」写偶遇，这个「脉脉」至少有双重意味：其一，写相视之含情——那「脉脉」写彼此含情相视、欲语还休的样子，写尽相逢的微妙情愫；其二，写沉默之深——那「脉脉」更是写沉默——脉脉相视而不得语，那沉默里有多少未说出口的话，写尽相逢的默契与怅惘。以「脉脉」写偶遇，正是孟浩然化用古诗的妙笔——若换作「默默」「怔怔」等词，则或失其含情，或失其文雅；唯「脉脉」二字，以古诗的经典意象写相逢的沉默，含蓄隽永，写尽山水之间偶遇路人的微妙情愫，也让「相看似相识，脉脉不得语」成为全诗最隽永的名句。