All poems

唐 Tang · 诗 Poem

欹湖

The, Lake, of, the, Qi

王维

Wang Wei

辋川Theme 送别Farewell

吹箫凌极浦，日暮送夫君。
湖上一回首，青山卷白云。

Listen

Meaning

A poem of the lake and the farewell, written by Wang Wei. The blowing the xiao beyond the farthest shore, the sun setting seeing off the gentleman — the farewell of the opening. On the lake one turning back the head, the green mountains rolling up the white clouds — the turning of the close. The poem is the lake and the farewell: the xiao, the turning, and the close's clouds.

吹箫凌极浦，日暮送夫君。湖上一回首，青山卷白云。

Appreciation

[Plain Paraphrase] The, blowing, the, xiao, beyond, the, farthest, shore, the, sun, setting, seeing, off, the, gentleman. On, the, lake, one, turning, back, the, head, the, green, mountains, rolling, up, the, white, clouds. [Structure and Thought] The poem moves from the farewell of the blowing the xiao with the sun setting, through the turning of the head, to the close's the clouds of the mountains. [Key Technique] The poem's art is the close of the turning: on the lake one turning back the head, and the close's the green mountains rolling up the white clouds — the farewell gathered in the turning and the close's clouds. [Emotional Tone] Fine, sorrowful, and clear: the poem is the xiao, the turning and the close's clouds.

【白话串讲】王维写《欹湖》：“吹箫凌极浦，日暮送夫君”——“湖上一回首，青山卷白云”——他在欹湖送别——湖上一回首，青山卷白云。【意象与手法】此诗写送别，以辋川写送别，是王维的名篇。前二句写送行：「吹箫凌极浦，日暮送夫君」写吹箫凌极浦、日暮送夫君——写尽送行的萧声；后二句写回首：「湖上一回首，青山卷白云」写湖上一回首、青山卷白云——写尽回首的怅惘。全诗以辋川写送别，写尽送行的萧声与回首的怅惘，是王维的代表作。【情感与主旨】此诗写送别，以辋川写送别，是王维的名篇。此诗为《辋川集》二十首之一，写欹湖送别。王维在辋川欹湖送别友人，吹箫之声凌越极浦（遥远的水边），日暮时分送君而去；湖上回首，唯见青山卷着白云。全诗以吹箫、回首写送别，正是王维「诗中有画」的送别名篇。此诗写送行：吹箫凌极浦，日暮送夫君——写吹箫凌极浦、日暮送夫君，写尽送行的萧声；湖上一回首，青山卷白云——写湖上一回首、青山卷白云，写尽回首的怅惘。全诗以辋川写送别——那「吹箫凌极浦」写尽送行的萧声，「青山卷白云」写尽回首的怅惘，写尽送行的萧声与回首的怅惘，是理解王维辋川诗的重要篇章。【名句点睛】常考「吹箫凌极浦，日暮送夫君」写送行的萧声；「湖上一回首，青山卷白云」写回首的怅惘；以及全诗以辋川写送别、以景结写怅惘的手法。

Background

Wang Wei (701-761), the great poet of the Tang, wrote this 'The, Lake, of, the, Qi' of the lake and the farewell — the farewell of the Wangchuan. The blowing the xiao with the sun setting, and the close's the clouds of the mountains — the poem gathers the sorrow of the poet, the clearness of the lake. The poem is one of the famous works of the poet's poems of the Wangchuan.

此诗写送别，以辋川写送别，是王维的名篇。王维（约701—761），字摩诘，号摩诘居士，蒲州（今山西永济）人，唐代诗人、画家，与孟浩然并称「王孟」，苏轼评其「诗中有画，画中有诗」。此诗为《辋川集》二十首之一，写欹湖送别。王维在辋川欹湖送别友人，吹箫之声凌越极浦（遥远的水边），日暮时分送君而去；湖上回首，唯见青山卷着白云。全诗以吹箫、回首写送别，正是王维「诗中有画」的送别名篇。此诗写送行：「吹箫凌极浦，日暮送夫君」写吹箫凌极浦、日暮送夫君——写尽送行的萧声（吹箫凌极浦，日暮送夫君）；「湖上一回首，青山卷白云」写湖上一回首、青山卷白云——写尽回首的怅惘（湖上一回首，青山卷白云）。全诗以辋川写送别，写尽送行的萧声与回首的怅惘，是理解王维辋川诗的重要篇章。欹湖为辋川二十景之一，湖面开阔，王维常于此泛舟送别。辋川别业山环水绕，欹湖居其中，是《辋川集》中写水的名景。此诗写日暮吹箫送别，正见王维与友人游赏酬唱、送别相忆的日常，也见辋川山水的空灵气象。

Art

The poem's art is the art of the turning. The farewell opens: the, blowing, the, xiao, beyond, the, farthest, shore — the blowing of the xiao; the, sun, setting, seeing, off, the, gentleman — the sun setting of the seeing off. The turning follows: on, the, lake, one, turning, back, the, head — the turning of the head; the, green, mountains, rolling, up, the, white, clouds — the rolling of the white clouds — the farewell, the turning and the close's clouds, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以声写送别。「吹箫凌极浦」以声写送别——那「吹箫」写尽送行的萧声，以声写尽送行的深情。其二，以时间写别情。「日暮送夫君」以时间写别情——那「日暮」写尽日暮的送别，以时间写尽送行的怅惘。其三，以回首写留恋。「湖上一回首」以回首写留恋——那「回首」写尽回望的留恋，以回首写尽送别的深情。其四，以景结写余韵。「青山卷白云」以景结写余韵——那「青山」「白云」写尽卷云的景致，以景结写尽回首的怅惘。此外，此诗前二句写送行的萧声，后二句写回首的怅惘，由送及望，正是送别诗「以景写别」的写法。四重手法，使此诗以辋川写送别，写尽送行的萧声与回首的怅惘，是王维的代表作。此诗还善于以「吹箫凌极浦」的箫声起笔写送别之远——那「凌极浦」写尽箫声的远送，正是以声写远的妙笔，以箫声写尽送行的深情。又善以「日暮送夫君」点明送别之时——日暮送君，正见迟暮送别的惆怅，以时间写尽送行的怅惘。

Allusions

'The lake of the Qi' (qi hu) is the lake of the Qi — the lake of the Wangchuan, the farewell of the opening; 'the xiao' (xiao) is the xiao — the flute of the blowing, the opening of the poem.

此诗的用语深植于送别与辋川传统。「吹箫」令人想到「吹箫」写箫声的意象——也令人想到「凤箫声动」的意象；「极浦」令人想到「极浦」写远浦的意象——也令人想到《楚辞·九歌》「望涔阳兮极浦」的意象；「夫君」令人想到「夫君」写友人的意象——也令人想到「子为王母为仙」之外的夫君意象；「回首」令人想到「回首」写回望的意象——也令人想到「蓦然回首」（辛弃疾）的意象；「青山」令人想到「青山」写青山的意象——也令人想到「青山一道同云雨」（王昌龄）的意象；「卷白云」令人想到「卷白云」写云卷的意象——也令人想到「云卷云舒」的意象。全词化用吹箫、极浦、夫君、回首、青山、卷白云的意象，以辋川写送别，正是王维「空灵」而善写画、承送别传统写怅惘之本领。「极浦」典出《楚辞·九歌·湘君》「望涔阳兮极浦，横大江兮扬灵」——极浦为远水之滨，王维以之写欹湖之远；「夫君」令人想到《楚辞》中以「夫君」称所敬之人的传统——也令人想到杜甫《咏怀古迹》「画图省识春风面」之外的称谓。

Commentary

This poem is one of the famous works of Wang Wei's poems of the Wangchuan, quoted for the fineness of its opening and the depth of its close. The blowing of the xiao, and the rolling of the white clouds, are among the admired passages of the poet's poems. Critics praise the poem's sorrow: the lake gathered in the turning, to the close's clouds.

此诗历来被推为王维辋川诗的名篇，也是《辋川集》写送别的代表。历代论者对此诗评价极高：清人评此诗「以辋川写送别，空灵淡远」；近人更指出「湖上一回首，青山卷白云」写回首的怅惘，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以四句的五绝写尽送行的萧声与回首的怅惘——那吹箫，那凌极浦，那日暮，那送夫君，那湖上，那一回首，那青山，那卷白云，都写尽了王维笔下的欹湖；那「青山卷白云」更以景结写尽回首的怅惘。此诗与王维《送元二使安西》（「渭城朝雨浥轻尘」）同为送别名篇，一写「劝君更尽一杯酒」的渭城（送元二使安西），一写「青山卷白云」的欹湖（欹湖）；又与李白《送友人》「青山横北郭」的送别传统一脉相承，可见中国诗写送别山水的传统。对于今日读者，此诗是理解王维辋川诗的窗口，也是《辋川集》写送别的经典——那回首间卷起的白云，穿越千年，仍在诉说着送别的怅惘。此诗写欹湖送别，尤以「湖上一回首，青山卷白云」一结为千古传诵。那回首之际，唯见青山白云卷舒，正是王维「以景结情」的典范——不写别恨，而别恨自在景中。后世论者以此诗与《送元二使安西》对读，可见王维写别情由「劝酒」到「回首」的两种空灵境界。

Prosody

Form A quatrain of the farewell (wu yan jue ju)诗·五言绝句

Rhyme The poem rhymes on the level of the group — the cadence of the quatrain that carries the clear sorrow.五绝，押「君」「云」韵（上平十二文），一韵到底，音节空灵

Tone pattern The cadence is that of the turning: the level opening with the farewell, the turning with the turning of the head, and the close's fall with the clouds.此诗为五言绝句，押平声韵，一韵到底，音节空灵，正合送别的空灵。

Reading note The poem's sound matches its clearness: the cadences of the quatrain, and the close — 'qing shan juan bai yun' — falls with the clouds, the sound of the sorrow of the lake poet.此诗为五言绝句，四句——「吹箫凌极浦，日暮送夫君。湖上一回首，青山卷白云」，押「文」韵（君、云），一韵到底，音节空灵。全诗以辋川写送别：前二句写送行的萧声（吹箫凌极浦、日暮送夫君），后二句写回首的怅惘（湖上一回首、青山卷白云）。四句短章，前写送行，后写回首，以「青山卷白云」写尽回首的怅惘，正见王维「空灵」的本色。诵读此诗，宜以空灵的语调读「日暮送夫君」的送行，以淡远的语调读「青山卷白云」的怅惘，结句要读得空灵而有余韵，方能传达出王维的空灵淡远。王维绝句以「空灵」著称，此诗正是其辋川送别的典范。

Line by line

湖上一回首，青山卷白云

On the lake, one turn of the head; the green hills roll up white clouds.

湖上一回首，青山卷白云。

On the lake, I turn my head once; the green hills roll out white clouds.

此二句是全诗写回首的核心，以湖上一回首写回首，以青山卷白云写卷白云，写尽回首的怅惘，是千古名句。「湖上一回首」写湖上一回首——那「湖上」写湖上，「一回头」写一回头，写尽湖上的回首；「青山卷白云」写青山卷白云——那「青山」写青山，「卷白云」写卷白云，写尽青山的白云。这句的深意在于：它以「湖上一回首」的回首与「青山卷白云」的卷白云，写尽回首的怅惘——湖上一回首，那「湖上一回首」写尽湖上的回首——湖上一回首，正是回望送别的写照，那「回首」写尽送别的留恋；青山卷白云，那「青山卷白云」写尽青山的白云——青山卷白云，正是山云卷舒的写照，那「卷白云」写尽回首的怅惘；那「湖上一回首」写尽湖上的回首，那「青山卷白云」写尽青山的白云，一写回首，一写白云，写尽回首的怅惘——回首之间唯见青山白云，正是人去景空的写照；此二句以回首、白云写尽回首的怅惘，也让此二句成为全诗写回首的核心与千古名句。若换作直说「回头一看，朋友已经走远了」，则失其画意；唯以「湖上一回首」写回首、「青山卷白云」写卷白云，写尽回首的怅惘，也让此二句成为全诗写回首的核心。

These two lines are the core of the poem's looking back - a famous line. 'On the lake, one turn of the head' the backward glance at the parting; 'the green hills roll up white clouds' the hills' clouds rolling and unrolling. After the farewell, one looks back and sees only green hills and white clouds, the person gone, the scene empty - Wang Wei's painting-like regret. If one said plainly 'I looked back and my friend was already far,' the pictorial quality would be lost.

吹箫凌极浦，日暮送夫君

Playing the xiao, crossing the farthest shore; at sunset, I speed my lord away.

吹箫凌极浦，日暮送夫君。

I play the xiao across the farthest reach of the lake; at sunset I speed my lord on his way.

此二句是全诗写送行的核心，以吹箫凌极浦写极浦，以日暮送夫君写送夫君，写尽送行的深情，是千古名句。「吹箫凌极浦」写吹箫凌极浦——那「吹箫」写吹箫，「凌极浦」写凌极浦，写尽箫声的凌浦；「日暮送夫君」写日暮送夫君——那「日暮」写日暮，「送夫君」写送夫君，写尽日暮的送行。这句的深意在于：它以「吹箫凌极浦」的箫声与「日暮送夫君」的送行，写尽送行的深情——吹箫凌极浦，那「吹箫凌极浦」写尽箫声的凌浦——吹箫凌极浦，正是箫声远送的写照，那「凌极浦」写尽送行的深情；日暮送夫君，那「日暮送夫君」写尽日暮的送行——日暮送夫君，正是暮色送别的写照，那「送夫君」写尽送行的深情；那「吹箫凌极浦」写尽箫声的凌浦，那「日暮送夫君」写尽日暮的送行，一写箫声，一写送别，写尽送行的深情——吹箫远送而日暮相别，正是深情难舍的写照；此二句以箫声、送行写尽送行的深情，也为下文的回首作铺垫，也让此二句成为全诗写送行的核心与千古名句。若换作直说「傍晚在湖边吹着箫送朋友走」，则失其意境；唯以「吹箫凌极浦」写极浦、「日暮送夫君」写送夫君，写尽送行的深情，也让此二句成为全诗写送行的核心。

These two lines are the core of the poem's farewell - a famous line. 'Playing the xiao, crossing the farthest shore' the xiao's sound carrying the send-off; 'at sunset, I speed my lord away' the dusk farewell. The far shore and the setting sun writing the deep reluctance of parting, priming the look-back below. If one said plainly 'at dusk I played the flute by the lake and saw my friend off,' the mood would be lost.

Study

Word focus

凌 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「吹箫凌极浦」之「凌」字是写箫声的关键词，一个「凌」字写尽箫声的远送。凌者，凌越、超越也。王维以「吹箫凌极浦」写箫声，这个「凌」字至少有双重意味：其一，写声之凌——那「吹箫凌极浦」写吹箫凌极浦，那「凌」字写尽箫声的凌越——凌极浦，正是箫声远送的写照，那「凌」字写尽送行的深情；其二，写情之远——那「凌」字更是写远——凌，正见离情之远送，那「凌」字写尽送别的怅惘。以「凌」字写箫声，正是王维写送别的枢纽——若换作「越」「过」等字，则或失其与「吹箫」「极浦」的配合，或失其写凌的意味；唯「凌」字，以吹箫凌极浦写尽箫声之凌越与离情之远送，与「日暮送夫君」的送别相合，写尽送行的深情，也让「吹箫凌极浦」成为全诗写箫声的名句。

卷 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「青山卷白云」之「卷」字是写景语的关键词，一个「卷」字写尽白云的卷舒。卷者，卷起、舒卷也。王维以「青山卷白云」写景语，这个「卷」字至少有双重意味：其一，写云之卷——那「青山卷白云」写青山卷白云，那「卷」字写尽白云的卷舒——青山卷白云，正是山云卷舒的写照，那「卷」字写尽回首的怅惘；其二，写景之动——那「卷」字更是写动——卷，正见云山的动态，那「卷」字写尽「诗中有画」的画意。以「卷」字写景语，正是王维写送别的枢纽——若换作「绕」「带」等字，则或失其与「青山」「白云」的配合，或失其写卷的意味；唯「卷」字，以青山卷白云写尽白云之卷舒与山云之动态，与「湖上一回首」的回首相合，写尽回首的怅惘，也让「青山卷白云」成为全诗写景语的名句。

欹湖