Listen to this article赏析
这是一首山水隐逸诗，在盛唐已传为名篇。到清代，更受“神韵派”的推崇，同《题破山寺后禅院》并为常建代表作品。
此诗题曰“宿王昌龄隐居”，一是指王昌龄出仕前隐居之处，二是说当时王昌龄不在此地。王昌龄及第时大约已有三十七岁。此前，他曾隐居石门山。山在今安徽含山县境内，即此诗所说“清溪”所在。常建任职的盱眙，即今江苏盱眙，与石门山分处淮河南北。常建辞官西返武昌樊山，大概渡淮绕道不远，就近到石门山一游，并在王昌龄隐居处住了一夜。
首联写王昌龄隐居所在。“深不测”一作“深不极”，并非指水的深度，而是说清溪水流入石门山深处，见不到头。王昌龄隐居处便在清溪水流入的石门山上，望去只看见一片白云。齐梁隐士、“山中宰相”陶弘景对齐高帝说：“山中何所有？岭上多白云。只可自怡悦，不堪持赠君。”因而山中白云便沿为隐者居处的标志，清高风度的象征。但陶弘景是著名阔隐士，白云多；王昌龄却贫穷，云也孤，而更见出清高。清人徐增说：“惟见孤云，是昌龄不在，并觉其孤也。”这样理解，也具情趣。
中间两联写诗人夜宿王昌龄隐居处所见所感。颔联“松际露微月，清光犹为君”，诗人宿在此处，举头望去，松树梢头，一弯明月慢慢升起，光照入室。“君”指王昌龄。说王昌龄虽不在这里了，明月多情，却仍来陪伴着他的客人。王昌龄隐居处清贫幽雅，只有一座孤零零的茅亭。“茅亭宿花影，药院滋苔纹”，是说夜宿茅亭，看见窗外团团花影，错落斑驳;而到院子里，则看见莳养的各种药草，依然生长得很好，只是由于长久没有人来往，路边已长满了青苔。这似乎只是写隐逸生活的情趣，其实字里行间流露了诗人对王昌龄没有坚持退隐的惋惜心情。
尾联就写诗人自己的归志以及对朋友的讽劝： “余亦谢时去，西山鸾鹤群。” “鸾鹤群”用江淹《登庐山香炉峰》“此山具鸾群，往来尽仙灵”语，与鸾鹤合群，与仙灵为伴，即表示要终身归隐。这里表达了诗人自己的心志，也有对朋友的期待。“亦”字很妙，此时王昌龄已登仕途，常建却借赞扬王昌龄归隐之处，说我也要跟随你一起归隐。这是故意这样说，是对王昌龄一种善意的讽劝。这是本诗的主题所在，是与题目《宿王昌龄隐居》的意思相合的。也即是说，常建是在招王昌龄归隐，与本文开头所介绍的《鄂渚招王昌龄张偾》一诗同其旨趣。
这首诗的艺术特点确同《题破山寺后禅院》，“其旨远，其兴僻，佳句辄来，唯论意表”。诗人善于在平易地写景中蕴含着深长的比兴寄喻，形象明朗，诗旨含蓄，而意向显豁，发人联想。就此诗而论，诗人巧妙地抓住王昌龄从前隐居的旧地，深情地赞叹隐者王昌龄的清高品格和隐逸生活的高尚情趣，诚挚地表示讽劝和期望仕者王昌龄归来的意向。因而在构思和表现上，“唯论意表”的特点更为突出，终篇都赞此劝彼，意在言外，而一片深情又都借景物表达，使王昌龄隐居处的无情景物都充满对王昌龄的深情，愿王昌龄归来。但手法又只是平实描叙，不拟人化。所以，其动人在写情，其悦人在传神，艺术风格确实近王维、孟浩然一派。▲
appreciation
This is a landscape seclusion poem, which has been passed down as a famous poem in the prosperous Tang Dynasty. In the Qing Dynasty, it was highly praised by the “Charm School”, and it was a representative work of Chang Jian with “Titles on the Back of the Mountain Temple”.
This poem is titled “Wang Changling stayed in seclusion”. First, it refers to the place where Wang Changling lived in seclusion before he became an official. Second, it means that Wang Changling was not here at that time. Wang Changling was about 37 years old at that time. Previously, he lived in seclusion in Shimen Mountain. The mountain is in Hanshan County, Anhui Province today, which is where the poem says “Qingxi” is. Changjian’s Xuyi, now Jiangsu Xuyi, and Shimen Mountain are located in the north and south of the Huaihe River. Chang Jian resigned from office and returned to Fanshan Mountain in Wuchang. He probably made a detour to the Huaihe River, visited Shimen Mountain nearby, and stayed overnight in Wang Changling’s seclusion.
The first couplet writes where Wang Changling lives in seclusion. “Deepness is unfathomable” means not the depth of water, but that the clear stream flows into the depth of Shimen Mountain, and there is no end to it. Wang Changling lived in seclusion on the Shimen Mountain where the clear stream water flowed in, and only saw a white cloud. Tao Hongjing, a hermit from Qi and Liang Dynasties and “prime minister in the mountains”, said to the emperor, “What is all in the mountains? There are many white clouds on the mountains. You can only be happy with yourself. You can’t afford to give it to the emperor.” Therefore, the white clouds in the mountains are the symbol of the hermit’s residence and the symbol of the noble demeanor. However, Tao Hongjing is a famous recluse with many white clouds; Wang Changling was poor, the clouds were lonely, and he was even more noble. Xu Zeng, a native of the Qing Dynasty, said, “When I see solitary clouds, I feel lonely because Chang Ling is not here.” This understanding is also interesting.
The two couplets in the middle describe the poet’s feelings about Wang Changling’s sleeping in seclusion. The couplet reads: “There is a slight moon on the pine trees, and the clear light is still the king.” The poet stayed here and looked up. At the top of the pine trees, a bright moon rose slowly and shone into the room. “Jun” refers to Wang Changling. Although Wang Changling is no longer here, the bright moon is affectionate, but still comes to accompany his guests. Wang Changling lived in seclusion, which was poor and elegant, with only a lonely thatched pavilion. “The thatched pavilion is covered with flowers, and the medicine yard has moss patterns.” It means sleeping in the thatched pavilion at night and seeing the flowers outside the window, they are scattered and mottled; When I came to the yard, I saw that all kinds of herbs were still growing well, but the roadside was covered with moss because no one came and went for a long time. It seems that this is just about the taste of reclusive life. In fact, between the lines, it shows the poet’s regret that Wang Changling did not persist in retirement.
The tail couplet wrote about the poet’s own ambition to return and his sarcastic advice to his friends: “I would like to go when I thank you. The western mountains are full of birds and cranes.” “The group of luans and cranes” uses Jiang Yan’s words in “Climbing the Xianglu Peak of Lushan Mountain”, “There are luans and cranes in this mountain, and all the immortals come and go”, to get together with the luans and cranes, and to accompany the immortals, that is, to retire for life. Here the poet expresses his own aspiration and expectations of his friends. The word “Yi” is very wonderful. At this time, Wang Changling has entered the official career, but Chang Jian praised Wang Changling’s place of seclusion and said that I would also go with you. This is a deliberate statement and a kind of insinuation to Wang Changling. This is the theme of this poem, which is consistent with the meaning of the title “Dwelling in seclusion of Wang Changling”. That is to say, Chang Jian is recruiting Wang Changling to retire, which shares the same purport with the poem “Ezhu Recruits Wang Changling’s Tensions” introduced at the beginning of this article.
The artistic characteristics of this poem are exactly the same as that of “Titles on the Back of the Mountain Temple”. “Its purpose is far, its popularity is remote, and the good words come frequently, but only on the meaning”. The poet is good at writing scenes in a plain way, which contains profound metaphor, clear image, implicit poetic purpose, and clear intention. As far as this poem is concerned, the poet skillfully grasped the old place where Wang Changling lived in seclusion, deeply admired the noble character of Wang Changling, the hermit, and the noble taste of reclusive life, and sincerely expressed his intention to satirize and persuade Wang Changling, the official, to return. Therefore, in terms of conception and performance, the characteristics of “rationalizing the ideographic expression” are more prominent. In the final chapter, both praise this and persuade the other, which is implicit, and a piece of deep affection is expressed by scenery, so that the merciless scenery in Wang Changling’s seclusion is full of deep feelings for Wang Changling, and Wang Changling is willing to return. But the technique is just plain description, not anthropomorphic. Therefore, its artistic style is similar to that of Wang Wei and Meng Haoran. ▲
