West Stream at Chuzhou / Wei Yingwu, 滁州西澗

Wei Yingwu's stream and rain: Text, Pinyin, and Translation

Wei Yingwu's stream and rain: Text, Pinyin, and Translation with original text, pinyin, a literal rendering, a readable translation, source location, key terms, and a careful modern reading.

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Wei Yingwu West Stream at Chuzhou original Chinese pinyin translation meaning

West Stream at Chuzhou, Wei Yingwu, 滁州西澗: read "獨憐幽草澗邊生，上有黃鸝深樹鳴。春潮帶雨晚來急，野渡無人舟自橫。" before the English explanation.

Original text

獨憐幽草澗邊生，上有黃鸝深樹鳴。春潮帶雨晚來急，野渡無人舟自橫。

Du lian you cao jian bian sheng, shang you huang li shen shu ming. Chun chao dai yu wan lai ji, ye du wu ren zhou zi heng.

Literal layer

Alone I cherish the quiet grass growing by the stream; above it, orioles sing in deep trees. The spring tide, carrying rain, comes urgently toward evening; at the wild crossing, with no one there, a boat lies crosswise by itself.

Readable layer

Wei Yingwu's stream-and-rain poem moves from quiet grass and birdsong to an urgent rainy spring tide and an unmanned ferry boat resting across the wild crossing.

Poem on reclusion from The Metropolitan Museum of Art open-access collection — **Poem on reclusion; Zhou Lianggong; Gift of Julia and John Curtis, 2020; The Metropolitan Museum of Art.**Poem on reclusion is used as a public-domain poem or landscape surface for line-order reading on Wei Yingwu's stream and rain. The fit is semantic: the page asks readers to inspect Wei Yingwu, 滁州西澗 and the term you cao, while the image remains illustrative rather than proof of the exact manuscript, author portrait, or historical scene.

Reader focus

What this page helps you decide

Wei Yingwu's West Stream at Chuzhou is not simply a pretty spring landscape. The first couplet is quiet and attentive: the speaker cherishes secluded grass by the stream and hears orioles in deep trees above. The second couplet changes the pressure. Evening rain drives the spring tide urgently, and at a wild ferry crossing no one is there; the boat lies crosswise by itself. The poem's force lies in that shift from cherished stillness to unattended movement.

Watch you cao, huang li, chun chao; these terms decide where the literal layer and the readable layer separate.
Compare this page with Zhang Ji's night mooring and Du Mu's Qingming before treating rain and boat imagery as generic scenery.

The Poem Before Paraphrase

This block uses West Stream at Chuzhou, Wei Yingwu, 滁州西澗 as the anchor, with "獨憐幽草澗邊生，上有黃鸝深樹鳴。春潮帶雨晚來急，野渡無人舟自..." kept in front of the explanation.

Full Text: The page uses all four lines because the poem depends on contrast. Quiet grass and birdsong come first. Then tide, rain, evening urgency, empty crossing, and a boat lying crosswise change the scene. Reading only the final boat line loses the tenderness of the opening.

Cherishing Quiet Grass: Du lian means the speaker alone cherishes or especially loves the quiet grass. You cao is not spectacular scenery. The poem begins with attention to something low, shaded, and modest by the stream. That choice shapes the poem's temperament.

Orioles In Deep Trees: Huang li shen shu ming adds sound above the grass. The bird call is placed in deep trees, so the scene has vertical layers: grass by the stream below, birdsong in trees above. This gives the quiet opening depth without making it crowded.

Images, Sound, And Emotional Turn

Spring Tide With Rain: Chun chao dai yu wan lai ji is the turning line. The spring tide carries rain and arrives urgently toward evening. The poem shifts from held attention to moving force. Spring is not only gentle growth; it can bring pressure and speed.

Wild Crossing: Ye du names a wild or rural crossing, not a busy official ferry. The absence of people matters because the crossing is a place made for passage. When no one is there, the scene feels suspended between usefulness and abandonment.

Boat Crosswise By Itself: Zhou zi heng is the famous closing image. The boat lies crosswise of itself. It is not steered, not requested, and not moving passengers. The line lets the object hold the poem's final stillness after the urgent tide.

Keep the term set visible here: you cao, huang li, chun chao. The reading changes if one of these terms is translated too smoothly.

Translation Choices To Keep Visible

Wei Yingwu's stream and rain Translation Limit: This working translation keeps wild crossing and crosswise boat rather than smoothing the final line into an empty ferry. The exact position of the boat matters because zi heng makes the scene feel self-settled, unattended, and slightly askew.

Why The Boat Feels Unsettled: The boat is a tool for crossing, but no crossing happens. After the urgent spring tide, the empty ferry does not resolve the motion; it shows a human route left unused. That is why zhou zi heng has more force than a neutral empty boat. The image holds movement, absence, and quiet disorder in one object.

Wei Yingwu's stream and rain Reading Payoff: This page differs from Zhang Ji's night mooring because Wei Yingwu's boat is unattended at a crossing, while Zhang Ji's boat carries a sleepless traveler. It differs from Du Mu's Qingming because the rain here drives a spring tide rather than a road search for shelter. The article gives readers a source-based way to understand the famous final image without losing the opening grass and birds.

The reading should end in one practical move: Compare this page with Zhang Ji's night mooring and Du Mu's Qingming before treating rain and boat imagery as generic scenery.

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