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唐 Tang · 诗 Poem

早梅

The, Early, Plum

孟浩然

Meng Haoran

咏物Object poem 咏梅Theme

园中有早梅，年例犯寒开。
少妇曾攀折，将归插镜台。
犹言看不足，更欲剪刀裁。

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Meaning

A poem of the plum and the love, written by Meng Haoran. In the garden there is the early plum, every year the rule of the braving the cold blooming — the plum of the opening. The young woman once broke and plucked it, will return home inserting it into the mirror stand — the woman of the middle. Still saying the looking not enough, the more wanting the scissors of the cutting — the love of the close. The poem is the plum and the love: the blooming, the inserting, and the close's cutting.

园中有早梅，年例犯寒开。少妇曾攀折，将归插镜台。犹言看不足，更欲剪刀裁。

Appreciation

[Plain Paraphrase] In, the, garden, there, is, the, early, plum, every, year, the, rule, of, the, braving, the, cold, blooming. The, young, woman, once, broke, and, plucked, it, will, return, home, inserting, it, into, the, mirror, stand. Still, saying, the, looking, not, enough, the, more, wanting, the, scissors, of, the, cutting. [Structure and Thought] The poem moves from the plum of the braving the cold with the blooming, through the woman of the inserting, to the close's the love of the cutting. [Key Technique] The poem's art is the close of the love: the young woman once broke and plucked it, and the close's still saying the looking not enough the more wanting the scissors of the cutting — the plum gathered in the woman and the close's love. [Emotional Tone] Fine, lovely, and charming: the poem is the blooming, the mirror and the close's cutting.

【白话串讲】孟浩然写《早梅》：“园中有早梅，年例犯寒开”——“少妇曾攀折，将归插镜台”——“犹言看不足，更欲剪刀裁”——他写早梅与少妇。【意象与手法】此诗咏早梅，以咏梅写春意，是孟浩然的名篇。前二句写早梅：「园中有早梅，年例犯寒开」写园中有早梅、年例犯寒开——写尽早梅的犯寒而开；后四句写赏梅：「少妇曾攀折，将归插镜台」写少妇曾攀折、将归插镜台——写尽少妇的折梅；「犹言看不足，更欲剪刀裁」写犹言看不足、更欲剪刀裁——写尽对梅的喜爱。全诗以咏梅写春意，写尽早梅的犯寒与赏梅的情趣，是孟浩然的名篇。【情感与主旨】此诗咏早梅，以咏梅写春意，是孟浩然的名篇。此诗写园中早梅犯寒而开，少妇折梅簪镜的赏梅情趣。此诗写早梅：园中有早梅，年例犯寒开——写园中有早梅、年例犯寒开，写尽早梅的犯寒而开；少妇曾攀折，将归插镜台——写少妇曾攀折、将归插镜台，写尽少妇的折梅；犹言看不足，更欲剪刀裁——写犹言看不足、更欲剪刀裁，写尽对梅的喜爱。全诗以咏梅写春意——那「年例犯寒开」写尽早梅的犯寒而开，「犹言看不足」写尽对梅的喜爱，写尽早梅的犯寒与赏梅的情趣，是理解孟浩然咏物诗的重要篇章。【名句点睛】常考「园中有早梅，年例犯寒开」写早梅的犯寒而开；「少妇曾攀折，将归插镜台」写少妇的折梅；「犹言看不足，更欲剪刀裁」写对梅的喜爱；以及全诗以咏梅写春意、以细节写情趣的手法。

Background

Meng Haoran (689-740), the poet of the Tang, wrote this 'The, Early, Plum' of the plum and the love — the love of the early plum. The blooming of the braving the cold, and the close's the love of the cutting — the poem gathers the love of the poet, the charm of the plum. The poem is one of the famous works of the poet's poems of the plum.

此诗咏早梅，以咏梅写春意，是孟浩然的名篇。孟浩然（689—740），字浩然，襄州襄阳（今湖北襄阳）人，唐代伟大的山水田园诗人，与王维并称「王孟」。此诗写园中早梅犯寒而开，少妇折梅簪镜的赏梅情趣。「园中有早梅，年例犯寒开」写园中有早梅、年例犯寒开——写尽早梅的犯寒而开（园中有一株早梅，年年照例冒寒而开）；「少妇曾攀折，将归插镜台」写少妇曾攀折、将归插镜台——写尽少妇的折梅（少妇曾攀折梅枝，将归插于镜台之上）；「犹言看不足，更欲剪刀裁」写犹言看不足、更欲剪刀裁——写尽对梅的喜爱（还言看不足，更欲用剪刀裁下梅枝）。全诗以咏梅写春意，写尽早梅的犯寒与赏梅的情趣，是理解孟浩然咏物诗的重要篇章。还应从「年例」二字体会此诗情味：年例者，年年照例也，写早梅年年犯寒而开，既见梅花之坚贞，亦暗含岁岁年年、时光流转之意——花每年照例开，而赏花之人岁岁不同，正是「年年岁岁花相似」的感慨。全诗以少妇折梅簪镜的日常细节写早春之喜，笔调轻快而情味隽永，正见孟浩然「遇景入咏」、善于从平凡生活中捕捉诗意的本领，也可见唐人咏物诗由咏物而及人事的传统。

Art

The poem's art is the art of the love. The plum opens: in, the, garden, there, is, the, early, plum — the early plum of the garden; every, year, the, rule, of, the, braving, the, cold, blooming — the braving the cold of the blooming. The woman follows: the, young, woman, once, broke, and, plucked, it — the young woman of the broke and plucked; will, return, home, inserting, it, into, the, mirror, stand — the inserting of the mirror stand; still, saying, the, looking, not, enough — the looking of the not enough; the, more, wanting, the, scissors, of, the, cutting — the scissors of the cutting — the plum, the woman and the close's love, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以写实写早梅。「园中有早梅，年例犯寒开」以写实写早梅——那「年例犯寒开」写尽早梅年年犯寒而开，以写实写尽早梅的习性。其二，以人物写情趣。「少妇曾攀折，将归插镜台」以人物写情趣——那「攀折」「插镜台」写尽少妇折梅簪镜，以人物写尽赏梅的情趣。其三，以夸张写喜爱。「犹言看不足，更欲剪刀裁」以夸张写喜爱——那「看不足」「剪刀裁」写尽看不足而欲剪裁，以夸张写尽对梅的喜爱。其四，以细节写春意。全诗以早梅犯寒而开写春意，以细节写尽早春的信息。此外，此诗前二句写早梅之早，后四句写赏梅之情，由物而人，正是咏物诗「咏物而及人」的写法；而那「剪刀裁」更写尽少妇欲将梅枝常留身边的痴情。四重手法，使此诗以咏梅写春意，写尽早梅的犯寒与赏梅的情趣，是孟浩然的名篇。此诗写法上尤妙在「少妇」与「剪刀」的细节：攀折、插镜台、看不足、欲剪裁，四个动作层层推进，写尽少妇对早梅的珍爱——折梅插镜是爱其美，看不足是爱其娇，更欲剪裁是爱其甚而欲常留，将爱梅之情推向极致；而「剪刀裁」一笔更添生活气息，使咏物诗不落于空咏，而有人间烟火之趣。

Allusions

'The mirror stand' (jing tai) is the mirror stand — the stand of the mirror, the inserting of the middle; 'the scissors of the cutting' (jian) are the scissors of the cutting — the scissors of the cutting, the close of the poem.

此诗的用语深植于咏梅与早春的传统。「园中有早梅」令人想到「早梅」写早梅的意象——「园中有早梅」正是孟浩然的名句，也令人想到「年例犯寒开」写年年犯寒而开的意象；「少妇曾攀折」令人想到「攀折」写折梅的意象——「攀折」正见少妇折梅，也令人想到「折梅寄远」的典故——陆凯「折梅逢驿使，寄与陇头人」；「将归插镜台」令人想到「镜台」写镜台的意象——「将归插镜台」正是孟浩然的名句，也令人想到「照镜」的闺阁意象；「犹言看不足」令人想到「看不足」写看不足的意象——「犹言看不足」正是孟浩然的名句，也令人想到「更欲剪刀裁」写欲剪梅枝的意象——「剪刀裁」写尽对梅的痴爱。全诗化用早梅、攀折、镜台的意象，以咏梅写春意，正是孟浩然「清淡自然」而善写细节、承咏梅传统写春意的本领。又「插镜台」之细节尤堪玩味：少妇折梅插镜台，正以梅花映照容颜，暗合「人面桃花相映红」的以花映人之意；而古来咏梅诗多写文人清赏（如林逋「疏影横斜水清浅」），孟浩然此诗却以少妇簪梅写闺阁之趣，别开生面，可见咏梅题材在唐人笔下已呈多元面貌，既有文人雅趣，亦有闺中风情。

Commentary

This poem is one of the famous works of Meng Haoran's poems of the plum, quoted for the earlyness of its opening and the charm of its close. The braving the cold of the blooming, and the scissors of the cutting, are among the admired passages of the poet's poems. Critics praise the poem's love: the plum gathered in the woman, to the close's cutting.

此诗历来被推为孟浩然咏物诗的名篇，也是唐人咏早梅的代表。历代论者对此诗评价极高：清人评此诗「以咏梅写春意，清淡自然」；近人更指出「园中有早梅，年例犯寒开」写早梅的犯寒而开，「犹言看不足，更欲剪刀裁」写对梅的喜爱，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以六句的五言短篇写尽早梅的犯寒与赏梅的情趣——那园中的早梅，那年例犯寒而开的习性，那攀折的少妇，那插镜台，那看不足，那剪刀裁，都写尽了孟浩然笔下的早梅；那「犹言看不足，更欲剪刀裁」更写尽对梅的喜爱。此诗与齐己《早梅》（「前村深雪里，昨夜一枝开」）同为咏早梅名篇，一写「昨夜一枝开」的雪梅（齐己早梅），一写「年例犯寒开」的园梅（孟浩然早梅）；又与陆凯「折梅逢驿使」的折梅传统一脉相承，可见中国诗咏梅的深情。对于今日读者，此诗是理解孟浩然咏物诗的窗口，也是中国诗咏早梅的经典——那犯寒而开的早梅，穿越千年，仍在诉说着早春的信息。

Prosody

Form A regulated poem of the plum (wu yan lü shi)诗·五言古诗（六句）

Rhyme The poem rhymes on the level of the group — the cadence of the regulated poem that carries the lovely charm.五古，押「开」「台」「裁」韵（上平十灰），一韵到底，音节清淡

Tone pattern The cadence is that of the love: the level opening with the plum, the turning with the woman, and the close's fall with the cutting.此诗为五言古诗，六句，押平声韵，一韵到底，音节清淡，正合咏梅的清淡。

Reading note The poem's sound matches its charm: the cadences of the regulated poem, and the close — 'geng yu jian dao cai' — falls with the cutting, the sound of the love of the plum poet.此诗为五言古诗，六句——「园中有早梅，年例犯寒开。少妇曾攀折，将归插镜台。犹言看不足，更欲剪刀裁」，押「灰」韵（开、台、裁），一韵到底，音节清淡。全诗以咏梅写春意：前二句写早梅的犯寒而开（园中有早梅，年例犯寒开），后四句写赏梅的情趣（少妇曾攀折，将归插镜台；犹言看不足，更欲剪刀裁）。六句短章，前写早梅，后写赏梅，正见孟浩然「清淡自然」的本色。诵读此诗，宜以清淡的语调读「园中有早梅」的早梅，以活泼的语调读「犹言看不足」的喜爱，结句「更欲剪刀裁」要读得俏皮而有余韵，方能传达出孟浩然的清淡自然。孟浩然古诗以「清淡自然」著称，此诗正是其咏梅五古的典范。

Line by line

园中有早梅，年例犯寒开

In the garden there is an early plum, as ever, braving the cold to bloom.

园中有一株早梅，年年照例冒寒而开。

In the garden stands an early plum, as by yearly custom, blooming despite the cold.

此二句是全诗写早梅的核心，以园中有早梅写所咏，以年例犯寒开写习性，写尽早梅的犯寒而开，是千古名句。「园中有早梅」写园中有一株早梅——那「园中」写园中，「有早梅」写有一株早梅，写尽所咏之早梅；「年例犯寒开」写年年照例冒寒而开——那「年例」写年年照例，「犯寒开」写冒寒而开，写尽早梅的习性。这句的深意在于：它以「园中有早梅」的所咏与「年例犯寒开」的习性，写尽早梅的犯寒而开——园中有一株早梅，那「园中有早梅」写尽所咏之早梅——园中之梅，正是近在身边的早梅，那「有早梅」写尽早梅之早；年年照例冒寒而开，那「年例犯寒开」写尽早梅的习性——年年照例冒寒而开，正是早梅不畏寒的习性，那「犯寒开」写尽早梅的耐寒；那「园中有早梅」写尽所咏之早梅，那「年例犯寒开」写尽早梅的习性，一写所咏，一写习性，写尽早梅的犯寒而开——早梅冒寒而开，正是春信的最先使者，那「犯寒开」写尽早梅的早与坚；此二句以所咏、习性写尽早梅的犯寒而开，也让此二句成为全诗写早梅的核心与千古名句。若换作直说「园子里的梅花开得很早」，则失其凝练；唯以「园中有早梅」写所咏、「年例犯寒开」写习性，写尽早梅的犯寒而开，也让此二句成为全诗写早梅的核心。

These two lines are the core of the poem's early plum - a famous line. 'In the garden there is an early plum' the subject; 'as ever, braving the cold to bloom' its habit. The garden's own plum, near at hand, blooming against the frost year by year - the first messenger of spring, its early and stubborn bloom.

犹言看不足，更欲剪刀裁

Still I say I cannot see enough; I want, besides, to cut a spray with the shears.

还言看不足，更欲用剪刀裁下梅枝。

Still I say I cannot see my fill; and now I want to snip a branch with the shears.

此二句是全诗写喜爱的核心，以看不足写喜爱，以剪刀裁写痴情，写尽对梅的喜爱，是千古名句。「犹言看不足」写还言看不足——那「犹言」写还言，「看不足」写看不足，写尽对梅的喜爱；「更欲剪刀裁」写更欲用剪刀裁下梅枝——那「更欲」写更欲，「剪刀裁」写用剪刀裁下梅枝，写尽对梅的痴情。这句的深意在于：它以「犹言看不足」的看不足与「更欲剪刀裁」的剪裁，写尽对梅的喜爱——还言看不足，那「犹言看不足」写尽对梅的喜爱——看了一遍又一遍，仍觉看不足，那「看不足」写尽对梅的喜爱；更欲用剪刀裁下梅枝，那「更欲剪刀裁」写尽对梅的痴情——看不足而更欲剪下梅枝，正是想将梅枝常留身边的痴情，那「剪刀裁」写尽对梅的痴爱；那「犹言看不足」写尽对梅的喜爱，那「更欲剪刀裁」写尽对梅的痴情，一写看不足，一写剪裁，写尽对梅的喜爱——看不足而欲剪裁，正是爱梅之深的层层递进；此二句以看不足、剪刀裁写尽对梅的喜爱，也让此二句成为全诗写喜爱的核心与千古名句。若换作直说「她特别喜欢这枝梅花」，则失其痴情；唯以「犹言看不足」写喜爱、「更欲剪刀裁」写痴情，写尽对梅的喜爱，也让此二句成为全诗写喜爱的核心。

These two lines are the core of the poem's delight in the plum - a famous line. 'Still I say I cannot see enough' the affection; 'I want, besides, to cut a spray with the shears' the fond folly. Seen again and again, yet never enough; seeing not enough, and now wishing to snip the branch to keep it by - the deep love's layering.

Study

Word focus

犯寒 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「年例犯寒开」之「犯寒」是写早梅的关键词，一个「犯寒」写尽早梅的耐寒。犯寒者，冒着寒冷也。孟浩然以「年例犯寒开」写早梅，这个「犯寒」至少有双重意味：其一，写早梅之坚——那「年例犯寒开」写年年照例冒寒而开，那「犯寒」写尽早梅的耐寒——冒寒而开，正是早梅不畏寒的坚，那「犯寒」写尽早梅的坚毅；其二，写早梅之早——那「犯寒」更是写早——犯寒而开，正见花开之早，那「犯寒」写尽早梅之早。以「犯寒」写早梅，正是孟浩然写早梅的枢纽——若换作「冒寒」「冲寒」等词，则或失其与「年例」的配合，或失其写犯寒的意味；唯「犯寒」二字，以年例犯寒开写尽早梅的耐寒与花开之早，与「园中有早梅」的早梅相合，写尽早梅的犯寒而开，也让「年例犯寒开」成为全诗写早梅的名句。

裁剪 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「更欲剪刀裁」之「裁剪」是写痴情的字眼，一个「裁剪」写尽对梅的痴爱。裁剪者，用剪刀剪裁也。孟浩然以「更欲剪刀裁」写折梅，这个「裁剪」至少有双重意味：其一，写折梅之切——那「更欲剪刀裁」写更欲用剪刀裁下梅枝，那「裁剪」写尽折梅的急切——欲以剪刀裁下梅枝，正是想将梅枝带走，那「剪刀裁」写尽折梅的急切；其二，写爱梅之痴——那「裁剪」更是写痴——看不足而欲剪裁，正见对梅的痴爱，那「裁剪」写尽爱梅的痴情。以「裁剪」写折梅，正是孟浩然写喜爱的枢纽——若换作「折取」「摘下」等词，则或失其写剪刀裁的意味，或失其与「看不足」的配合；唯「剪刀裁」三字，以更欲剪刀裁写尽折梅的急切与对梅的痴爱，与「犹言看不足」的看不足相合，写尽对梅的喜爱，也让「更欲剪刀裁」成为全诗写喜爱的名句。

早梅