最後一首：
羲農去我久，舉世少復真，
汲汲魯中叟，彌縫使其淳。
鳳鳥雖不至，禮樂暫得新。
洙泗輟微響，漂流逮狂秦。
詩書復何罪，一朝成灰塵。
區區諸老翁，為事誠殷勤。
如何絕世下，六籍無一親！
終日馳車走，不見所問津，
若復不快飲，空負頭上巾。
但恨多謬誤，君當恕醉人。
Long gone are the ages of Fu Xi and Shen Nong;
Little of the true now remains in the world.
Restlessly toiling, the Elder of Lu (Confucius)
Labored to restore the good of society.
Though he never beheld the Age of the Phoenix,
Rites and music were briefly revived.
Since the refined strains of Zhu and Si fell silent,
Violent currents surged on, down to Qin.
What fault had the Poetry and the Documents,
That they should all be consigned to the flames?
Since then, only a few aged scholars
Have labored to preserve the teachings.
From that fallen age until now,
Who still draws near to study the Six Classics?
The people of the world rush to and fro in their carts;
Rarely does anyone inquire into true principles.
So then—if I do not drink to my heart’s content,
I would surely betray my own headcloth.
Perhaps I have spoken many foolish words—
Pray, gentlemen, forgive what I have said.
中國的儒家提倡「士當以天下為己任」，提倡「修身齊家治國平天下」，提倡「達則兼善天下」，這是讀書人的理想，讀書人做官就是為了這個理想。但孟子也說過，「仕非為貧，而有時乎為貧」，這是讀書人做官的另一種情況。
Confucian teachings in China advocate the principle that “a scholar takes responsibility for the well-being of the entire world.” This responsibility is fulfilled through a progressive path: “cultivating one’s character, regulating one’s household, governing the state, and bringing peace to the world.”They further teach that when one achieves personal success—what we might call self-actualization, such as attaining high office—one should extend that achievement outward to benefit all under Heaven. In other words, “if one succeeds, one should promote the welfare of society.” This ideal has long been shared by scholars and aspiring officials alike. Many entered government service in pursuit of this goal. However, Mencius also noted: “One does not always seek office because of poverty; yet at times, it is indeed because of poverty.” This reflects another important reality—some scholars took official positions simply to support their families.
陶淵明第一次出來做官，他的傳記上說是因為「親老家貧，起為州祭酒」（見《晉書 • 隱逸傳》），這是為貧而仕。可是在孫恩叛亂的時候，陶淵明曾做過桓玄的官吏，還曾為桓玄奉使入京，向朝廷請求討伐孫恩，那時他以為桓玄果然是為國家做事的。但隨著桓玄野心逐漸暴露，他失望了。桓玄篡逆的時候，討伐桓玄的主力是劉裕，陶淵明也做過劉裕手下的官吏，可見他也曾以為劉裕是可以為國家擔當大事的人。但劉裕也開始走上篡逆的道路，這使陶淵明相當失望，於是第二次辭官不做了。
When Tao Yuanming first entered official life, his biography records that his mother was elderly and his family was poor. For this reason, he accepted a post as a Gentleman of Rites (Book of Jin, “Biographies of Recluses”). This was a case of entering office out of necessity. Later, during the rebellion of Sun En, Tao served under General Huan Xuan. At one point, he even went to the capital on Huan’s behalf to request military action against the rebellion, believing at the time that Huan was acting in the interest of the state. However, as Huan Xuan’s personal ambitions became increasingly apparent, Tao grew disillusioned. When Huan Xuan eventually rebelled, Liu Yu led the campaign to suppress him. Tao Yuanming then served under Liu Yu, suggesting that he initially believed Liu, too, could be entrusted with the fate of the country. Yet Liu Yu later followed the same path of usurpation, which again disappointed Tao. As a result, he resigned for a second time.
最後一次出來做官，陶淵明在《歸去來兮辭》的序裡曾說過，是因為「幼稚盈室，缾無儲粟」，這又是為貧而仕。但這一次做彭澤縣令，也只做了八十天左右就辭官不幹了。因為當時那個官僚社會腐敗、邪惡，不但完全不符合陶淵明的理想，而且使他無法忍耐。
The final time Tao Yuanming took office, he explained in the preface to his essay “Returning Home” that “there were many young children to feed, yet no surplus grain in storage.” Once again, poverty compelled him to accept a government post. However, his tenure as a county magistrate lasted only a little over eighty days. The corruption and moral decay of the bureaucratic system were not only contrary to his ideals—they were intolerable to him. Thus, he resigned once more, this time for good.
那麼陶淵明的理想是什麼樣的呢？佛教的理想是西方極樂世界，那是一個絕對完美、清淨、沒有邪惡的地方；但儒家不是宗教，沒有這種超現實的境界，儒家只是把歷史上最早的「三皇五帝」時代，設想為一個完美的理想世界。所以「羲農去我久」的「羲農」，就是上古「三皇」中的伏羲氏和神農氏時代。傳說那時的民風善良淳樸，人民生活安樂美好。
What, then, were Tao Yuanming’s ideals? In Buddhism, the ideal is the Western Pure Land of Ultimate Bliss—a perfectly pure realm free from suffering and evil. Confucianism, however, is not oriented toward such transcendent worlds. Instead, it looks back to an idealized past: the age of the Three Sovereigns and Five Emperors. Thus, the “Xi and Nong” in the line “Long gone are the ages of Xi and Nong” refer to Fuxi and Shennong, two of the legendary Three Sovereigns. According to tradition, this was a time when society was simple, honest, and harmonious; people lived peaceful and contented lives, guided by natural virtue.
但羲農時代已經逝去很久了，晉朝是一個戰亂頻仍的時代，從一開始就有「八王之亂」，然後北方是「五胡亂華」，南方也一直在戰亂的殺戮之中。陶淵明還寫過《感士不遇賦》，在這首賦的序中他說：「自真風告逝，大偽斯興，閭閻懈廉退之節，市朝驅易進之心。」「真風」，是真淳、樸實的社會風氣；「大偽」，是人與人之間的欺詐手段。世風敗壞，人們連一點兒謙退禮讓之心都沒有了，剩下的只是不擇手段的爭奪、殺伐和欺騙。這就是「舉世少復真」。
By Tao Yuanming’s time, however, this ideal world had long since vanished. The Jin dynasty was marked by constant turmoil. Early on, there was the Rebellion of the Eight Princes; later, in the north, invasions by non-Han tribes plunged the region into chaos, while in the south, internal conflicts and bloodshed persisted. Tao Yuanming also wrote a fu (a form of descriptive prose interspersed with verse) titled “On the Unrecognized Scholar.” In its preface, he laments: “Since the true moral tradition declined, great hypocrisy has prevailed. / Common people have lost their sense of humility and shame,/And the pursuit of fame and profit has come to dominate the actions of officials and merchants alike.” Here, zhen feng (“true moral tradition”) refers to a society characterized by purity and simplicity, while da wei (“great hypocrisy”) refers to widespread deceit and manipulation. As moral standards deteriorate, even basic virtues such as modesty and courtesy disappear. People become driven by conflict, violence, and self-interest. This is what is meant by the idea that “little of what is genuine remains in the world.”
但陶淵明現在說的，還不是晉朝的時候，他說的是東周春秋戰國的時代。從那個時候就已經風氣敗壞了，諸侯之間互相戰爭，沒有任何正義可言，當時魯國就出了一個老先生，就是孔老夫子。他四處奔走，希望通過自己的努力來改變社會的風氣──「汲汲魯中叟，彌縫使其淳」。
Yet the historical decline Tao Yuanming alludes to does not begin with the Jin dynasty alone. He traces it further back to the Eastern Zhou period—the Spring and Autumn and Warring States eras—when social and moral decay had already set in. Feudal lords waged constant wars, disregarding righteousness and moral principle. It was during this time that Confucius, an elder from the state of Lu, emerged. He traveled from state to state, striving to reform society and restore moral order. As expressed in the poem: “Busy, busy is the elder of Lu,/ Laboring to restore the goodness of the world.”
「汲汲」，是匆忙營求的樣子。大家都知道，孔子曾到各國周遊，希望找到一個國君能夠任用他，藉以實現改造社會的理想。他曾在陳蔡絕糧，挨過餓；在鄭國，人家說他是喪家之狗（見《史記 • 孔子世家》）。有人問他：「丘何為是栖栖者與？」（見《論語 • 憲問》）意思是，你為什麼老是這麼忙忙碌碌的呢？他自己也說過：「沽之哉，我待賈者也。」（《論語 • 子罕》）就是說，只要有一個君主願意用我，我就把我自己賣給他。孔子為什麼要這樣做？他是為了要「彌縫使其淳」。他認為這個社會真是敗壞了，到處都是破裂的，他要把那些破裂的地方修補完整。
“Ji ji” (汲汲) describes an anxious, eager striving. As is well known, Confucius traveled among the feudal states, hoping to find a ruler who would appoint him to office so he could realize his ideal of reforming society. During his journey from the state of Chen to Cai, he once suffered from starvation; and in the state of Zheng, someone even compared him to a “stray dog” (Records of the Grand Historian, “The Hereditary House of Confucius”). Someone once asked, “Why is Qiu (Confucius) always so busy?” (Analects, Xian Wen)—in other words, “Why are you always so occupied?” On another occasion, Confucius said, “I am waiting to be sold at a good price” (Analects, Zi Han). This means that if a ruler were willing to employ him, he would willingly offer his service. Why would Confucius do this? Because he was tirelessly devoted to restoring order to society. He saw a world deeply corrupted and fractured, and he sought to mend it completely.
「彌縫」這兩個字用的真是好！神話傳說有女媧煉石補天，可是誰來修補我們人類的社會？那就是孔子，他要使這墮落的社會返回過去的真淳。可是他的理想實現了嗎？他自己嘆息說：「鳳鳥不至，河不出圖，吾已矣夫！」（《論語 • 子罕》）鳳鳥河圖的出現，是天下太平的象徵。孔子說，我現在一天比一天老了，但我期待的那種太平美好的時代並沒有出現！不過，「鳳鳥雖不至」，但經過孔子的努力，卻使「禮樂暫得新」。
The phrase mi feng (彌縫), “to patch up what is torn,” is used here with great force. In legend, Nüwa smelted stones to repair the heavens—but who could repair human society? Confucius aspired to be that person, restoring a declining world to its former purity. Yet did he achieve his ambition? He once sighed, “The phoenix does not appear, and the River Diagram has not emerged from the Yellow River. I am finished” (Analects, Zi Han). The appearance of the phoenix and the River Diagram were seen as signs of a harmonious age. Confucius lamented that, although he was growing older each day, the peaceful world he longed for had not arrived. Even so, although “the phoenix did not appear,” Confucius still succeeded, at least for a time, in reviving rites and music.
孔子主張「立於禮，成於樂」（《論語 • 泰伯》），所以他整理了禮和樂。孔子的理想雖然沒有實現，但他還是為社會做了一些事情。可是孔子死了之後呢？是「洙泗輟微響，漂流逮狂秦」。「洙泗」指洙水和泗水，那是孔子當年講學的地方；「輟」就是停止；「微響」指孔子那些微言大義，就是在簡短的話裡邊，包含了豐富高遠的道理。《漢書 • 藝文志》說：「昔仲尼沒，而微言絕。」孔子死了之後，那洙泗之間的禮樂弦歌、微言大義的教育就都斷絕了，沒有了。
Confucius taught that one “establishes one’s character through the rites, and perfects it through music” (Analects, Tai Bo). Accordingly, he systematized the traditions of ritual propriety and the theory of music. Although his political ideals were never fully realized, he nevertheless made a lasting contribution to society. What happened after his death? As a poem says, “Since the refined strains of the Zhu and Si fell silent,/ Turbulent currents surged, down to the Qin.” “Zhu” and “Si” refer to the Zhu and Si Rivers, where Confucius once taught. The word chuo (輟) means “to cease,” and wei xiang (微響) refers to the subtle yet profound resonance of his teachings—lofty principles expressed through refined language. The Book of Han, “Treatise on Literature,” notes that after Confucius’ death, these subtle teachings declined and eventually disappeared. The rites, music, and educational traditions he transmitted in the region of the Zhu and Si Rivers gradually faded away.
在這裡他不用「微言」而用「微響」，其實也很妙，因為前邊提到「禮樂」——儒家的教化，禮是要配合音樂的。《論語 • 陽貨》中有「子之武城，聞弦歌之聲」，就「莞爾而笑」：城裡到處都是詩書禮樂的弦歌之聲，孔子聽了就很高興。音樂的聲音是可以感動人的，所以「六經」中有《樂》，就像萬佛城的梵唱，聽了有一種身心都融化其中的感覺。
Here, Tao’s choice of wei xiang (“subtle resonance”) instead of wei yan (“subtle words”) is especially apt, since he had just spoken of rites and music. In Confucian thought, rites and music are inseparable. In the Analects (Yang Huo), it is recorded that when Confucius visited Wu Cheng and heard songs accompanied by stringed instruments, he smiled with delight. In that city, music served as a vehicle for education and transformation. Thus, Confucius valued music deeply. Among the Six Classics was once the Classic of Music. Even today, we can sense this transformative power—for example, in the daily chanting at the City of Ten Thousand Buddhas, whose melodies can be so absorbing that listeners feel themselves dissolve into the sound.
春秋以後是戰國，戰國以後是秦朝。戰國七雄爭鬥，暴秦實行強權統治，天下又敗壞下來了。「漂流逮狂秦」的「漂流」兩個字，也用得很好。我們說「水往低處流」，世風的敗壞，也像流水一樣無法阻止。「逮」是「及」，意思是來到。從上古的羲農時代，到孔子的復興禮樂，然後就來到了狂暴的秦朝。
After the Spring and Autumn Period came the Warring States Period, followed by the Qin Dynasty. During the Warring States era, the seven major states were locked in constant conflict; and under the Qin, rule became harsh and ruthless. As a result, China’s moral tradition declined drastically, even to the point of disintegration. This is why Tao writes, “Violent currents swept through, up to the time of Qin.” The phrase piao liu (漂流), meaning “to drift helplessly,” is especially well rendered here. Just as water naturally flows downward, so too the moral traditions of society seemed to decline in an unstoppable downward current. The word dai (逮) means “to reach” or “to come to.” Tao is tracing the passage of time—from the distant antiquity of the legendary rulers Fu Xi and Shen Nong, to Confucius, who sought to revive the teachings of rites and music, and finally to the turbulent and violent Qin Dynasty.
為什麼說它「狂」呢？因為「詩書復何罪，一朝成灰塵」。秦始皇焚書坑儒，那真是喪心病狂。當時是「偶語詩書者棄市」，把念書的人都活埋或殺掉了，把所有的詩書都燒燬了。那麼今天的詩書是怎麼傳下來的呢？那是當時有的人把書藏在牆壁裡，有的把書記在腦子裡，後來才能夠再寫出來的。漢朝有很多學者為保存和流傳這些古代文化做了許多工作，像伏生的傳經，就是由他口授，別人記錄下來。所以說，「區區諸老翁，為事誠殷勤」。
Why is the Qin Dynasty described as “violent”? As the line suggests, “What fault was there in the Poetry and the Documents, that they should all be burned?” Qin Shihuang ordered the burning of books and the burying alive of scholars—acts of extreme brutality. At that time, “even those who merely discussed the Poetry and the Documents were executed and their bodies abandoned in the marketplace” (Records of the Grand Historian). Those who studied the classics were often put to death or buried alive. How, then, did these classics survive to the present day? Some people concealed books within the walls of their homes; others committed the texts to memory, preserving them in their hearts. Later, they were able to write them down again. During the Han Dynasty, many scholars devoted themselves to recovering and transmitting these works of ancient culture. For example, Fu Sheng passed down the classics by orally dictating what he had memorized, which others then transcribed. This is why Tao writes, “Since then, only a few old scholars / labored diligently to preserve the teachings.”
這兩句說得很好。漢代那些魯殿靈光的、碩果僅存的讀書人，為傳授經書付出如此勤勉的勞動。為什麼是「諸老翁」？因為生在焚書坑儒之後的年輕人，都無書可讀了；而經歷過秦火又能夠活下來的那些讀書人，年紀都很大了。「區區」是渺小的意思，他們只是一些渺小的、卑微不足道的讀書人，而且都很老了，卻殷勤地承擔了保存古代文化的責任。所以你看，像「區區」、「誠」、「殷勤」這些詞，都是充滿了感情。
These lines are especially poignant. The eminent scholars who survived the Qin catastrophe worked tirelessly to preserve and transmit the classics. The poem specifically mentions “old scholars” because the younger generation, born after Qin Shihuang’s destruction of the books, had no access to them. Those who still retained the knowledge were already advanced in age. The term qu qu (區區) conveys the sense of “few” and “insignificant.” These scholars were small in number and humble in status; their efforts might have seemed negligible, and they themselves were already elderly. Yet they bore the heavy responsibility of preserving the ancient cultural tradition. Words such as “few,” “indeed,” and “diligently” are thus filled with deep emotion and quiet admiration.
從結構上看，「鳳鳥雖不至，禮樂暫得新」是一起，「詩書復何罪，一朝成灰塵」是一落；現在「區區諸老翁，為事誠殷勤」又是一起，但接下來「如何絕世下，六籍無一親」又是一落。「絕世」是墮落的、敗壞的、走上滅絕道路的一個時代；「六籍」就是六經。他說，為什麼在我們這個時代，已經沒有人肯認真地去讀六經的經書了，哪怕只讀一部？
From a structural perspective, the line “Although he did not witness the Age of the Phoenix, rites and music were temporarily revived” represents a rise, whereas “What fault was there in the Poetry and the Documents, that they should all be burned?” marks a decline. In the same way, “Since then, only a few old scholars labored diligently to preserve the teachings of Confucius” signals another rise, while “From the decline of the age until now, why has no one drawn near to study the Six Classics?” marks yet another fall. The term jue shi (絕世, “the demise of the age”) suggests that the world as a whole was descending into moral ruin, as if on a path toward self-destruction. The phrase liu ji (六籍) refers to the Six Classics. Tao Yuanming laments that people of his time no longer even cared to read a single Classic, let alone study all six.
大家知道，漢以後是魏，魏的天下是篡漢得來的；魏以後是晉，晉以後是（劉）宋，晉和（劉）宋的天下也是篡奪來的。在這些年裡，臣弒其君者有之，子弒其父者有之，戰禍連年，生靈塗炭。陶淵明還寫過一篇很有名的文章叫《桃花源記》，說晉朝有個打漁的人，發現了一個世外桃源，那裡面不管是黃髮的老年人，還是垂髫的小孩，都生活得安逸快樂。他們的祖先在秦朝時避亂來到桃花源，從此就不再出去，都不知道秦之後有漢，更不用說之後的魏、晉了。
As you know, after the Han Dynasty came the Wei, which usurped Han power; after Wei came the Jin, and after Jin came the (Liu) Song. Each of these transitions involved usurpation. Ministers overthrew rulers; sons even killed their fathers. Years of warfare devastated the land, and the people suffered greatly. It was in such a context that Tao Yuanming wrote his famous essay, The Record of the Peach Blossom Spring. In it, a fisherman of the Jin Dynasty discovers an isolated utopia where people of all ages live in peace and contentment. Their ancestors had fled there to escape the turmoil of the Qin Dynasty and had never left. As a result, they were unaware of the passage of history—they did not know of the Han, much less the Wei of the Three Kingdoms period, nor the subsequent Jin.
陶淵明不是在隨便講一個故事，而是在抒發他對現實社會敗壞的一種悲慨。這種敗壞，不僅僅是政治上的敗壞，而且也是倫理和文化上的敗壞。儒家並不反對追求名利，連孔子都說過：「富而可求也，雖執鞭之士，吾亦為之。」（《論語 • 述而》）可那必須用正當的手段。而在這「真風告逝，大偽斯興」的時代，大家都孜孜於名利，已經不顧道德，不擇手段了。秦始皇焚書，是因為還有人要看那些書；但現在書擺在那裡，已經沒有人要看了。這才是更可悲哀的。
Tao Yuanming was not merely telling a story; he was expressing deep sorrow over the corruption of his age—not only political corruption, but also ethical and cultural decay. Confucianism does not reject the pursuit of fame and wealth. Confucius himself once said, “If wealth could be obtained by proper means, even if I had to serve as a groom with whip in hand, I would do so” (Analects, Shu Er). However, the key lies in obtaining such things through proper means. In Tao Yuanming’s time—an age in which “the true moral tradition had perished and great hypocrisy prevailed”—people pursued fame and profit without any moral restraint, resorting to whatever means necessary. Qin Shihuang burned the books because people still wanted to read them—tragic as that was. But by Tao Yuanming’s time, even when the books were available, no one cared to read them. This, he suggests, is an even deeper tragedy.
下邊他說：「終日馳車走，不見所問津。」這裡又涉及孔子的一個故事。孔子周遊列國，有一次看到路邊有兩個人在耕田，就派子路過去問他們。「問津」，就是打聽一個渡口。耕田的這兩個人，一個叫長沮，一個叫桀溺。長沮就問：「車上那個人是誰？」子路說：「是孔丘。」長沮說：「孔丘這個人一天到晚跑來跑去，他自己應該認識路！」
In the next line, Tao writes, “The people of the world hurry about in their carriages; rarely does anyone pause to inquire into true principles.” This brings to mind another story about Confucius. During his travels among the states, Confucius once saw two men plowing a field by the roadside and sent Zi Lu to ask them for directions. The phrase wen jin (問津) literally means “to ask the way to a ferry crossing.” The two farmers were Chang Ju and Jie Ni. Chang Ju asked Zi Lu, “Who is the man in the carriage?” Zi Lu replied, “Kong Qiu (Confucius).” Chang Ju responded, “Kong Qiu rushes about from east to west all day long—surely he should know the way himself.”
子路只好又去問桀溺。桀溺說：「你是誰？」子路說：「我是孔丘的學生。」於是桀溺就教訓子路說：「滔滔者天下皆是也，而誰以易之，且而與其從辟人之士也，豈若從辟世之士哉？」（見《論語 • 微子》）這「滔滔者天下皆是」的意思，就同陶淵明「漂流逮狂秦」的那個「漂流」的意思差不多：整個世界都在墮落敗壞，就像滔滔滾滾的水，向下游流去一樣，誰能改變這種現狀？第九首《飲酒詩》中那個送酒的人勸陶淵明說：「一世皆尚同，願君汩其泥。」大家都在渾水裡隨波逐流，你為什麼不跳進去和大家一起？
With no alternative, Zi Lu turned to Jie Ni. Jie Ni asked, “Who are you?” Zi Lu answered, “I am a disciple of Kong Qiu.” Jie Ni then admonished him: “A great flood engulfs the world, and everyone is caught in it. Who can change such a situation? Rather than following one who avoids certain people, why not follow those who withdraw from society altogether?” (Analects, Wei Zi).This “great flood” echoes the same imagery Tao uses in the line, “Violent currents swept through, up to the time of Qin.” It suggests that the world is in moral decline, like a powerful current rushing downward—something no one seems able to reverse. In Tao Yuanming’s ninth Drinking poem, a man who brings him wine offers similar advice: “Since the whole world delights in conformity, / I hope you too will wallow in the mud.” In other words, since everyone drifts along with the muddy current of society, why not simply join them?
現在桀溺的意思也和這話差不多。他說，滔滔者天下皆是也，你的老師和大家一樣不就好了嗎？何必這麼傻，老想做不可能做到的事！而且接下來他還說：子路你與其跟著孔子這樣的人跑來跑去，這個國君不好跑到那個國家，那個國君不好又跑到這個國家，還不如跟著我做一個避世之人呢！
Jie Ni’s rebuke to Zi Lu conveys much the same idea. He is essentially saying: “If the whole world is like this—each person swept along like a drop in a torrent—why doesn’t your teacher simply follow the flow? Why persist in what cannot be accomplished? Why travel from state to state, trying to promote ideals that no ruler will adopt?” He continues, “You follow Confucius, running from one place to another. When one ruler proves unworthy, you go elsewhere, and then elsewhere again. If that is the case, why not become like us—withdraw from the world and live in seclusion?”
子路沒問來渡口在哪裡，回去就向老師報告。孔子聽了就說：「鳥獸不可與同群，吾非斯人之徒與而誰與？」他說，你叫我到山野去做隱士，可是山野的鳥獸不是我的同類，我不能跟牠們在一起生活；我生為一個人，怎麼能不關心人世間的事情，而自己去隱居呢？
Zi Lu failed to obtain directions and reported the exchange to Confucius. Confucius then said, “One cannot live with birds and beasts. If I do not associate with human beings, with whom should I associate?” In other words, Confucius rejected the path of reclusion. He was saying, “You suggest that I withdraw into the mountains and live among birds and animals. But they are not of my kind. As a human being, how can I abandon human society and remain indifferent to its condition?”
現在我們回過頭來看「終日馳車走，不見所問津」。前人對這兩句有不同的解釋，有的是從長沮、桀溺的角度來講，說是大路上整天奔馳車馬跑來跑去的那些人，都是追逐名利的，再也見不到有孔子那樣的人停車來問路了。另一種解釋，是陶淵明以孔子自比，他說我也像孔子一樣到處跑來跑去，希望找到一個渡口，一條改善社會的出路，可是我找不到。其實，詩是可以多義的，西方文學批評家艾卜蓀（William Empson）就曾寫過《多義七式》（Seven Types of Ambiquity），為含混多義的詩舉出許多理論的根據，甚至認為，越是能提供多方面解釋的含混多義，越是好詩。所以我以為這兩種解釋可以並存。
Let us return to the line: “The worldly keep busy darting here and there in their carts; rarely does anyone inquire into true principles.” This line has been interpreted in different ways by later readers. One interpretation follows the perspective of Chang Ju and Jie Ni. From this view, those who rush about in their carriages along the main roads are people pursuing fame and profit. Among them, it is nearly impossible to find someone like Confucius—someone willing to pause and seriously inquire into the right path. Another interpretation sees Tao Yuanming identifying himself with Confucius. In this reading, Tao is saying: “I, too, run back and forth, searching for a ‘ferry’—a way to cross over, a solution to improve society. Yet, like Confucius, I am unable to find it.” In fact, poetry often carries multiple layers of meaning. The English literary critic and poet William Empson (1906–1984), in Seven Types of Ambiguity, argued that poetry naturally accommodates multiple meanings, and that richness of ambiguity is a mark of its excellence. From this perspective, these two interpretations need not contradict each other—they can coexist and enrich the poem.
剛才提到陶淵明的《桃花源記》。《桃花源記》裡的那個漁人，在離開桃花源的時候，一路上都作了記號，回去對太守說了這件事。太守派人跟著他去找桃花源，可是那些記號都沒有了，那美好的地方再也找不到了。南陽有個叫劉子驥的，聽到這件事之後，很高興地準備出發去尋找，但沒有去成，不久就得病死了。陶淵明在《桃花源記》的結尾說了一句非常悲哀的話：「後遂無問津者。」找尋不到一個拯救社會的出路，固然是一種悲哀，但只要有人去找，就始終存在著找到的希望。最可怕的是，世界上所有的人都放棄了尋找，那麼人類也就沒有了希望。所以「終日馳車走，不見所問津」，可以說是我找不到那個渡口，也可以說是沒有人再有興趣找那個渡口了。
Earlier, I mentioned Tao Yuanming’s Record of the Peach Blossom Spring. In that account, after leaving the hidden utopia, the fisherman marked his path and reported his discovery to the local prefect. The prefect sent people to retrace the route, but they could not find the marks, nor could they rediscover that idyllic land. Later, a man named Liu Ziji from Nanyang eagerly prepared to search for it, but before he could set out, he fell ill and died. Tao Yuanming concludes the story with a poignant remark: “After that, no one inquired about it.” This echoes the same concern found in the poem. To be unable to find a solution to society’s problems is already lamentable; yet as long as there are people searching, there remains hope. What is truly tragic is when no one even cares to seek a solution. When that happens, there is no hope left for human society. Thus, the line “The worldly keep busy darting here and there in their carts; rarely does anyone inquire into true principles” can be understood in two ways: either “I (Tao Yuanming) cannot find the ferry—the way to save society,” or “there is no longer anyone who even wishes to search for that ferry.”
既然對這個世界已經沒有辦法了，那麼「若復不快飲，空負頭上巾」，唯一可以消除悲哀的辦法，就是飲酒了。這兩句也可以有兩種解釋。陶淵明的傳記上說他曾「取頭上葛巾漉酒」，酒做好了要過濾，叫做「漉酒」。陶淵明家裡窮，連過濾的器具都沒有，他就把頭巾摘下來漉酒，用完之後擰一擰，抖一抖，又戴在頭上。這不是我編的故事，是《宋書 • 隱逸傳》裡說。所以他說，我要是不痛痛快快地喝酒，就對不起我用來漉酒的頭巾。這是一種解釋。
Since Tao could not find a remedy for the world’s ills, he writes: “In that case, if I do not drink to my heart’s content, I would truly be failing my headcloth.” Wine became his way of dispelling sorrow. This line, too, admits more than one interpretation. In his autobiography, Tao Yuanming recounts that he once removed his headcloth and used it as a filter for making wine. After fermentation, the wine needed to be strained, but his family was too poor to afford proper equipment. He therefore used his headcloth as a makeshift filter; afterward, he wrung it out, shook it, and put it back on his head. This anecdote is recorded in the Book of Song, “Biographies of Recluses.” From this perspective, the line suggests that if he does not fully enjoy drinking, he would be wasting even this humble and resourceful use of his headcloth.
另外，也可以把「頭上巾」理解為讀書人所戴的頭巾。讀書人講究持守，所謂「讀聖賢書所學何事」？魏晉時期，凡是有學問、有名氣的人，很少既能保全名節，又能保全生命的，所以有些人就以飲酒來逃避。像阮籍，為了逃避司馬氏的求婚，一連醉了六十天不醒。所以陶淵明說，我要是不喝醉，被你們拉出去做了官，我還對得起我頭上的頭巾嗎？這話說得含混，真是Ambiguity。但是你看到這裡要知道，陶淵明確實有很多難以明言之處，所以他最後兩句說：「但恨多謬誤，君當恕醉人。」他說我很遺憾，說了這麼多話可能把大家都得罪了，但你們要原諒我，因為我已經喝醉了。
Moreover, the “headcloth” can also be understood as the scholar’s headgear, symbolizing dignity and moral integrity. For scholars, preserving one’s honor was of utmost importance—as implied in the question, “What is the purpose of studying the books of the sages?” During the Wei and Jin dynasties, however, it was extremely difficult for a scholar to maintain both integrity and survival. Under such oppressive circumstances, some turned to wine as a means of escape. A well-known example is Ruan Ji, who, in order to avoid a marriage alliance with the Sima family (which later founded the Jin Dynasty), remained in a drunken stupor for sixty consecutive days. Against this background, Tao Yuanming’s line may be read as saying: “If I do not remain drunk and instead allow myself to be pulled into official life, would I not be betraying my headcloth—my integrity?” Here, Tao’s language is deliberately ambiguous. In fact, such ambiguity was often necessary, for there were many things he could not state openly. Thus, in the final two lines of the poem, he writes: “I may have spoken much that sounds like nonsense; / I ask you, gentlemen, to forgive me.” On the surface, he appears to apologize for speaking carelessly under the influence of wine: “I am sorry if my words have offended you; please excuse me, for I am already drunk.”
陶淵明說的真是醉話嗎？他是在不得已的情況下，藉飲酒說出了自己內心對仕隱選擇的看法，和對自己生平出處的反省，這些話倘若明說肯定會招來禍患。所以從他最後這兩句解釋自己的話，我們反而更能夠見到：這二十首飲酒詩深具苦心，絕不是無所為而作的。
But was Tao Yuanming merely speaking the ramblings of a drunkard? Certainly not. Rather, he used wine as a veil through which he could express his deepest thoughts—his choice of reclusion over official life, and his reflections on when to advance and when to withdraw. Had he spoken these ideas directly, he might well have brought trouble upon himself. Therefore, these concluding lines offer us an important key to understanding the entire series of Drinking poems. In each poem, Tao embeds profound meaning and intention. They are by no means casual or purposeless compositions, but carefully crafted expressions of his inner world.♦