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元 Yuan · 曲 Qu song

沉醉东风·渔夫

The Fisherman (to the Tune 'Intoxicated in the East Wind')

白朴

Bai Pu

隐居Seclusion 闲适Leisure and contentment

黄芦岸白苹渡口，绿柳堤红蓼滩头。
虽无刎颈交，却有忘机友。
点秋江白鹭沙鸥。
傲杀人间万户侯，不识字烟波钓叟。

By yellow reeds and white duckweed ferry, green willow dike and red knotweed shore.
Though I have no life-and-death friend, I have friends who have forgotten worldly schemes—
the white gulls and egrets dotting the autumn river.
I outdo the lords of ten thousand households, an illiterate old fisherman on misty waves.

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Meaning

The poem depicts a fisherman's idyllic life by the river, surrounded by colorful reeds and willows. He has no human friends but finds companionship with gulls and egrets. He proudly scorns high officials, taking pride in being an illiterate old angler free from worldly cares.

黄芦岸边、白苹渡口，绿柳堤旁、红蓼滩头。虽然没有生死相交的密友，却有忘却机心的朋友——那秋江上的白鹭与沙鸥。傲视那人间万户侯的，不过是我这不识字的烟波钓叟。

Appreciation

The poem begins with four vividly colored images (yellow reed, white duckweed, green willow, red knotweed) painting a serene scene. The contrast between 'sworn friend' and 'friend free of schemes' cleverly personifies the gulls and egrets. The final couplet proudly declares the fisherman's disdain for rank, using self-mockery to express true pride.

【白话串讲】一个不识字的老渔夫，被白朴写成了最高级的隐士：不攀权贵，不结死党，就点着一江秋水和几只白鹭过活。元朝文人最羡慕的样子，不过如此。【意象与手法】开篇以"黄芦岸白苹渡口，绿柳堤红蓼滩头"两组对仗设色明丽，营造清幽隐境【情感与主旨】白朴生逢金元易代，幼年遭乱，自此终身不仕元朝，隐于江湖以全名节。此曲题为"渔夫"，实则是作者自我心迹的写照【名句点睛】常考以渔夫口吻写厌弃功名、向往闲适的主旨；"傲杀人间万户侯"的傲骨与"忘机友"的用典

Background

Bai Pu lived through the Jin-Yuan transition. Having suffered chaos in childhood, he never served the Yuan dynasty but lived in seclusion. This poem is a self-portrait: using the fisherman to celebrate a life of freedom and reject officialdom, reflecting the spiritual integrity of a loyalist.

《沉醉东风·渔夫》为元曲四大家之一白朴所作。白朴幼年遭金元易代之乱，母亲死于战乱，自此终身不仕元朝，隐居江湖以全名节，其散曲多写隐逸闲适之怀，此曲即其自我心迹的写照。题中『渔夫』实是作者托身之化身——借渔钓之隐，写遗民不合作、厌弃功名之志。在文学传统上，渔父意象渊源极古：屈原《渔父》已有『沧浪之水清兮，可以濯吾缨』的隐者原型，柳宗元《江雪》『孤舟蓑笠翁，独钓寒江雪』写孤高之钓，张志和《渔歌子》写山水之逸。白朴此曲则融合设色之美与傲骨之辞，将传统渔隐主题以元曲本色的明丽语言重写，上承唐宋渔父词，下开元人隐逸小令（如乔吉、徐再思渔隐之作）一脉，是元散曲中写隐逸而兼富色彩与风骨的代表。又元初废科举，文人进身无门，白朴之不仕，既是守节，亦是对时代之无声抗议，曲中『不识字』三字，正可作此解。其不仕之志，曲中虽以闲适出之，而风骨自见，读者可于设色之外求之，方得作者本意。

Art

The opening couplet uses parallel structure with four colors to create a bright, secluded setting. 'Although... yet...' transitions naturally, personifying gulls as 'friends free of schemes'. The closing lines use irony ('illiterate') to convey pride, blending color, emotion, and backbone seamlessly.

此曲艺术之妙在设色明丽与风骨傲然的浑融。开篇『黄芦岸白苹渡口，绿柳堤红蓼滩头』以两组对仗铺陈隐境，黄、白、绿、红四色交错，意象鲜亮如工笔小景，营造出清幽而不萧索的江湖之趣，一反传统渔隐常以寒江孤雪写凄凉的套路。中二句『虽无刎颈交，却有忘机友』以流水对写交游：无世俗生死之交，却有白鹭沙鸥之类『忘机』之友，于对照中见其弃绝机心、亲近自然的选择。『点秋江白鹭沙鸥』以『点』字写禽鸟点缀秋江，动静相生。末二句『傲杀人间万户侯，不识字烟波钓叟』陡然振起，以『傲杀』二字将闲适翻为傲骨，结以『不识字』三字，以反语写不慕荣利之清醒。全曲由景及人、由友及志，色彩与锋芒并见，是元曲隐逸题的丽笔与铁笔。其结构先铺色、次写友、终显志，层层递进如画卷展开而忽作金石声，章法之妙在丽景与傲骨的反差张力。丽景与傲骨相激荡，遂使闲适之题别生铮铮之响，非寻常隐逸小令所可及，此正白朴高出同调诸作之处。

Allusions

'Friends free of schemes' (wangji you) alludes to the Zhuangzi story of the seagull that comes close to a person without ulterior motives. 'Life-and-death friend' references the historical friendship of Lin Xiangru and Lian Po. 'Lord of ten thousand households' refers to high-ranking nobles.

本曲用典与语典皆雅俗相济。『渔夫』原型本于屈原《渔父》『众人皆醉我独醒』的隐者，白朴承其不合作之志而汰去悲愤，转为傲然。『刎颈交』出《史记·廉颇蔺相如列传》『卒相与欢，为刎颈之交』，指生死不渝之友，此处反用，言不须此类世俗密交。『忘机友』之『忘机』源出《庄子·天地》『机心存于胸中则纯白不备』及李白咏鸥鸟忘机之句，谓摒弃机心、与物无争，白鹭沙鸥即忘机之象征（典本『鸥鹭忘机』，见《列子》好鸥鸟者日与鸥游之说）。『万户侯』出《汉书》『万户侯』封爵，代指极品权贵，『傲杀』显受李白『安能摧眉折腰事权贵』精神沾溉。『不识字』则以反语写不通仕途文字、故得全其天真的遗民自况，语似俚而意极沉，暗含对元蒙以吏治取代科举、文人进身无门的时代感慨。诸典或正用或翻案，皆融会于江湖闲适之调中，足见白朴熔裁之工。正用翻案，皆调剂得当，故能于俚俗之中自见雅致，此白朴本色之妙，亦元曲『文而不文、俗而不俗』理想之体现。

Commentary

Bai Pu's refusal to serve the Yuan is reflected here. Critics praise his style as 'refined and free'. This poem is considered a masterpiece of Yuan recluse poetry.

此曲自明代即入各种散曲选本，近世因写隐逸傲骨而常与元人渔隐诸作并提。其经典地位在末句『不识字烟波钓叟』所凝聚的遗民风骨：白朴不仕元朝，此『不识字』非真无知，而是不屑通晓那套为官文字、宁守江湖天真的自我标榜，与关汉卿『铜豌豆』、马致远『东篱』同属元曲作家以曲明志的范例。评家多赞其『设色鲜新，结语峭健』——前幅如展秋江图，后幅如挥隐者剑。在传播史上，它因语言明丽、旨趣清高而广受读者喜爱，亦被视作元曲『清丽派』（白朴、张可久）的代表作之一。需留意者，曲中『傲』非轻狂，而是乱离之后文人守节自尊的庄严选择，故能丽而不靡、傲而不狂，传唱至今犹见风骨。白朴以不合作的渔父自况，实则是为大时代中守住读书人底线者留一精神上之影，其价值不仅在词采，更在人格。后世以清丽目白朴，观此曲乃知其丽处正藏风骨，丽与骨原不可分观，舍骨而言丽，未为知白朴者也。

Prosody

Form Northern tune 'Shuangdiao: Chenzui Dongfeng' (a sanqu short song)元曲小令，双调·沉醉东风

Rhyme Youhou rhyme (头, 友, 鸥, 侯, 叟)押尤侯韵（中原音韵），口、头、友、鸥、侯、叟协韵，一韵到底，声情清畅而结处傲兀。

Tone pattern Northern Mandarin tones, with level, rising, departing; first two lines parallel, third and fourth parallel.沉醉东风句式为七七、三三、五（或七）、七七，平仄依北曲双调腔格，不似诗词拘严；『黄芦岸白苹渡口』『绿柳堤红蓼滩头』两七字对句协律工整，末『不识字烟波钓叟』七字收煞，长短错落，重在可歌。

Reading note The poem starts with four color images in parallel, ends with proud statement, structure is a classic model for fisherman recluse poems.双调声情『健捷激袅』，宜写洒脱高亢之怀，正与此曲由设色闲适转入傲骨奋发相契。用韵上『口』『头』『友』『鸥』『侯』『叟』皆尤侯部平声，回环清亮，诵来如秋江泛舟之悠；至『傲杀人间万户侯』以『侯』字振起，声情陡健。句式前两组七字对仗如并展画图，中三三短句轻转写友，末七字断语收束，『不识字』三字以仄声顿住、『钓叟』平收，余韵悠长。北曲尚本色自然，白朴以丽语写傲骨、以俗语载雅意，声律与内容相发，唱之令人既赏其色、复钦其骨。双调之健与渔隐之傲相成，遂成清丽派写志之绝调。双调写渔隐，声情辞意两得，丽景傲骨相宣，宜其传唱至今而风骨犹新，为元人隐逸小令之冠。

Line by line

黄芦岸白苹渡口，

Yellow reeds line the bank; white water-fern grows at the ferry.

黄芦掩映的岸边、白苹丛生的渡口

The bank screened by yellow reeds, the ferry thick with white water-fern.

起句以设色笔法写隐者栖居之境，『黄芦』『白苹』冷暖相映，『岸』『渡口』点出水滨地利。传统渔隐多写寒江孤雪之凄凉，白朴却以明丽色彩写江湖清幽，开隐逸小令设色一新境。『渡口』既是实景，亦暗喻人生渡津——隐于此者已渡出宦海风波。一句如工笔小景，于平淡地名中见匠心设色，是全曲『丽笔』的开篇，亦为后文『傲杀万户侯』的恬淡底气张本。四字一组而黄白相映，已见作者于山水中自得之趣，起笔便脱尽悲苦之态。

The opening line sets the recluse's dwelling through color, yellow reeds and white fern answering each other in warm and cool, 'bank' and 'ferry' fixing the waterside place. The old fisherman-recluse tradition usually writes the desolation of a lone river in snow; Bai Pu instead paints the clear rivers-and-lakes retreat in bright colors, opening a new palette for recluse song. The 'ferry' is both real and a quiet figure — he who dwells here has crossed out of the rapids of official life. Like a fine small painting, artful coloring in plain place-names: the song's opening stroke of 'beauty,' laying ground for the later 'overtopping the lords.' Four characters, yellow answering white — the poet's joy in mountain and water is already there, far from any grief.

绿柳堤红蓼滩头。

Green willows fringe the embankment; red smartweed spreads on the shoal.

绿柳成堤之处、红蓼铺满的滩头

Where green willows fringe the bank, and red smartweed carpets the shallows.

承句与起句对仗，『绿柳』『红蓼』再添两色，与『黄芦』『白苹』合成黄白绿红四色交错，意象斑斓而不腻，写出秋江滩头的明秀。『堤』『滩头』延展水域空间，使隐境由点及面。此句与首句同为列锦式设色，却以『绿』『红』的暖亮收束冷色铺垫，暗示隐逸之可乐而非可哀。两组对仗如展开的双联画图，足见白朴『清丽派』炼色之能，亦见元曲小令融词之雅与曲之俗的当行本色，于短章中见出长卷之势。

The second line pairs the first, adding green willow and red smartweed to yellow reed and white fern — four colors interwoven, rich yet not cloying, painting the bright autumn shoals. 'Embankment' and 'shoal' extend the waterside space, expanding the retreat from point to plane. Listed color-painting like the first line, yet the warm bright of green and red resolves the cool opening, hinting the reclusive life is joyful, not grievous. The two balanced lines unfold like a diptych, showing Bai Pu's 'clear-beautiful' school in coloring, and the Yuan qu's native fusion of ci elegance and vernacular — a long scroll compressed into short lines.

虽无刎颈交，

Though I have no friend who would die for me,

虽然没有生死相交的密友

Though I have no sworn friend who would share life and death,

此句由景入情，以『虽无』领起转折，写交游之取舍。『刎颈交』典出廉蔺，指世俗生死密契，作者直言不须此类牵绊——暗含对官场结党、利害相交的疏离。『虽无』为下句『却有』蓄势，先抑后扬，于对照中显其主动选择：弃人间酬酢，取自然忘机。一笔便将前半幅设色之景收归『人』的主体，是由景及人的关键转捩，亦见遗民不合作的自守之意。以『无』衬『有』，章法灵动，已将闲适之怀落到交友取舍之实，不止于写景而已。

The line turns from scene to feeling, led by 'though I have no,' on the choice of companions. A 'sworn friend who would die for me' comes from the stories of Lian Po and Lin Xiangru, meaning mortal, worldly bonds — the poet declares he needs no such ties, quietly distancing himself from the factional, interest-based friendships of office. 'Though I have none' primes the next 'yet I have,' first pressing down then lifting, showing in contrast a deliberate choice: abandoning human reciprocity for nature's unworldliness. In one stroke the colored scenery of the first half is gathered back to the human subject — the turning from scene to person, and the loyalist's refusal to collaborate. 'No' set against 'yes' makes the structure nimble, grounding leisure in the concrete choice of companions.

傲杀人间万户侯，

I utterly scorn the lords of ten thousand households of this world,

傲视那人间万户侯的

I hold in complete contempt every lord of ten thousand households on earth,

结前句以『傲杀』振起全曲精神，将闲适翻为傲骨。『万户侯』代极品权贵，『傲杀』二字斩钉截铁，显出对功名富贵的蔑视——烟波钓叟之微，反傲王侯之贵，价值倒转极具张力。此句承『忘机友』而来，点明隐逸非无奈而是主动的尊严选择。李白『安能摧眉折腰事权贵』是其精神先声，白朴以元曲本色语出之，更见酣畅。它是全曲风骨所聚，丽景至此忽作金石声，元曲『清丽』与『豪放』于此交汇，读之觉其骨力铮铮，非徒写闲适者所及。

This line, the one before the close, lifts the song's spirit with 'utterly scorn,' turning leisure into a proud backbone. 'Lords of ten thousand households' stands for the highest nobility; 'utterly scorn,' clipped and final, shows contempt for fame and wealth — the tiny fisherman of misty waters overtopping the great lords, a reversal of values charged with tension. Following the 'unworldly friend,' the line shows the retreat is not defeat but a dignified, chosen stance. Li Bai's 'how could I bow and bend to serve the powerful' is its spiritual ancestor; Bai Pu speaks it in the native manner of Yuan song, more flowing still. Here the beauty of the lines rings with metal — the 'clear-beautiful' and the 'bold' streams of Yuan qu meeting, bone and sinew ringing.

不识字烟波钓叟。

I am but the fisherman of misty waves, who cannot read a word.

不过是我这不识字的烟波钓叟

No more than this fisherman of misty waves, who knows no characters.

结句以『不识字』三字收束全篇，是遗民自况的反语妙笔。『不识字』非真无知，而是指不通晓仕途文字、不厕身功名场中，故得保全江湖天真。白朴本为文士，此语正言若反，于自嘲中见孤高——不识那套为官之字，反成就真隐之身。『烟波钓叟』遥承张志和、柳宗元渔父传统，将全曲的设色、傲骨收束为一个清澈的自我形象。语似俚俗，意极沉痛，是元曲以浅语写深衷的典范收束。乱世之中，识字者多陷尘埃，不识字之渔父反得全其洁，此一转语，最堪玩味。

The closing line gathers the song in the three words 'cannot read' — a masterstroke of ironic self-portrait by a loyalist. 'Cannot read' is not real ignorance: it means knowing nothing of the official texts, standing outside the field of fame, and so keeping the innocence of the river. Bai Pu was himself a man of letters; the phrase says the opposite of what it seems, pride hiding in self-mockery — not knowing the script of office is precisely what makes the true recluse. 'Fisherman of misty waves' reaches back to the fisherman tradition of Zhang Zhihe and Liu Zongyuan, gathering all the coloring and pride into one limpid self-image. Colloquial on the tongue, deeply felt within — a model of Yuan qu saying deepest feeling in shallow words: in the troubled age, those who could read sank in the dust, and the illiterate fisherman kept his purity.

Study

Word focus

忘机 To forget worldly schemes, derived from Zhuangzi, meaning a pure mind free of deceit. 『忘机』二字是全曲精神的中枢，语出《庄子》与『鸥鹭忘机』典。机心者，计较利害、钻营趋避之谓也；忘机则泯去人我之争、与物无竞。作者言白鹭沙鸥为『忘机友』，正以禽鸟之无机反衬人间之交多挟利害。此词既点出隐逸的哲学根基（去机心、全天真），亦暗含对元初官场倾轧、文人进身无门的疏离与批判。二字雅语入曲，与『黄芦』『白苹』等俗语相生，恰见白朴融词雅于曲俗的清丽本色，是小令写志的凝炼之笔。以『忘机』对『刎颈』，弃俗交而取天游，孤高之趣、通透之怀俱在此二字之中。

傲杀 To outdo proudly, a bold expression of disdain for the powerful. 『傲杀』为全曲风骨的爆发点，『杀』是元曲特有的程度副词（犹言『极』『煞』），『傲杀』即傲到极点。寻常写隐逸每流于恬淡，白朴却以『傲杀』二字将闲适升为锋芒，使钓叟之微傲视万户侯之贵，价值倒转极具张力。此词承李白『安能摧眉折腰事权贵』之脉，却以市井程度的『杀』字出之，酣畅痛快，最见元曲本色当行。二字之力，足以撑起前半幅设色之柔，使全曲丽而不靡、傲而不狂，是隐逸小令由『逸』到『骨』的关键一笔。元曲写隐者多矣，能于闲适中透出如此傲骨者，白朴此篇实为上乘。