葉嘉瑩教授講於萬佛聖城
Lectures by Professor Yeh Jiaying at the City of Ten Thousand Buddhas
今天我們看第十七首，這是很短但寫得很好的一首詩。
Today we will study Tao Yuanming’s seventeenth Drinking poem. Though brief, it is finely crafted.
幽蘭生前庭，含薰待清風，
清風脫然至，見別蕭艾中。
行行失故路，任道或能通，
覺悟當念還，鳥盡廢良弓。
A solitary orchid grows in the front courtyard,
Its fragrance diffused, awaiting the pure breeze.
A sudden wind arises, setting it apart from the grasses.
I walk and walk, until I lose my way;
Following my heart, I may yet return.
Awakening, I realize I should go back—
For when the birds are gone, the good bow is cast aside.
中國古代講到作詩的方法，最早的就是《詩經》裡的賦、比、興。「賦」，是直言其事，把事情直接說出來，像上一首的「少年罕人事，游好在六經」就是，直接寫出作者內心情意的。「比」，是以此例彼，用這一件事情來比那一件事情，像「栖栖失群鳥」那一首就是。作者內心先有了某種情意，然後找一個外物的形象把它表現出來，這種方法是由心及物。而今天要講的這一首，使用的是「興」的方法。「興」是見物起興，就是說當見到一種外物的時候，它引起你內心發生了某種感動。這種方法是由物及心。
The earliest poetic methods in ancient China, as found in the Book of Odes, are known as fu, bi, and xing: Fu (賦): direct narration and exposition; Bi (比): analogy and comparison; Xing (興): evocation—where feelings are stirred by external things. “Direct narration and exposition” (fu) means expressing one’s thoughts plainly. For example, in the previous (sixteenth) poem: “Hardly involved in worldly affairs in my youth, I delighted in studying the Six Classics.” This line directly conveys the poet’s inner state. “Analogy and comparison” (bi) involves using one thing to suggest another. For instance, in an earlier (fourth) poem: “A distressed bird, strayed from the flock.” Here, the poet begins with an inner feeling, then projects it outward onto an external image. This method moves from the inner mind to external objects. Today, however, we focus on xing—the evocation of feeling. This occurs when external objects stir emotions within the observer. In other words, the movement is from the outer world to the inner mind.
所以「幽蘭生前庭」的蘭花，和「栖栖失群鳥」的那隻鳥，是不一樣的。那隻鳥既不是燕子，也不是麻雀，而是作者意念之中的一隻鳥。它是拿來作比喻的，是一隻概念化的鳥。可是這「生前庭」的蘭花，卻是詩人院子裡現實的景物。我們說詩人是在寫景，然而前人說過，「一切景語皆情語也」（王國維《人間詞話》）。詩人之所以與一般人不同，就在於詩人的感覺是敏銳的。山青水碧，草綠花紅，對一般人來說只是外界景物，可是對詩人來說，卻會產生一種感情的感動。俗話說：「木葉落，長年悲。」秋天草木黃落的時候，年老的人就感到悲哀，那是由於他們從草木的凋落，聯想到人的衰老與死亡。這就是由外界景物所引起的一種內心感發。
In this poem, “A solitary orchid grows in the courtyard” differs from “A distressed bird, strayed from the flock.” The bird is not a specific, real bird—it is a conceptual image shaped by the poet’s mind, serving as a metaphor. The orchid, however, is a real object growing in the courtyard. Tao Yuanming is describing something he actually encountered. Yet, as Wang Guowei wrote in Renjian Cihua (A Discourse on Ci Poetry): “All descriptions of external scenes are expressions of the inner mind.” Tao Yuanming differed from ordinary people in that he possessed a keen sensitivity to the world around him. Mountains appeared vividly green, waters like polished jade, grasses lush, and flowers radiant. What others regarded as mere scenery, he perceived as sources of inspiration.These external scenes stirred emotions within him. As it is said, “When the leaves fall, the aged feel sorrow.” In autumn, as leaves yellow and drift to the ground, they evoke reflections on aging and mortality. The falling leaves become a mirror of human life. This is precisely the function of xing: external scenes give rise to inner feeling.
但陶淵明與一般的詩人又不一樣，他不只是感情的感動而已，我認為他在所有的中國詩人之中，是一個最有思想性的詩人。他不但是「一切景語皆情語」，而且他是「寫其胸中之妙耳」（陳師道《後山詩話》）。所謂「胸中之妙」，其實就是他心中充滿了哲理的意念活動。而他的哲理又不是枯燥的理論，因為那是從他自己生活中的體驗出發，其中滲透了他的感情。也就是說，陶淵明的詩是從景到情到思——從外物感發的力量，引起他感情的活動；而在感情的滲透之中，還包含著一種哲理的覺悟。
There is something in Tao Yuanming that sets him apart from ordinary poets. He is not merely someone who responds emotionally to what he sees. Rather, I would say that among Chinese poets, he is one of the most thoughtful and insightful. For Tao Yuanming, it is not only that “all descriptions of external scenes are expressions of the inner mind,” but also that he is able to draw forth subtle and wondrous feelings from within. As Chen Shidao remarked in Houshan’s Notes on Poets and Poetry, Tao Yuanming “does not merely write poetry; he expresses what arises in his mind.” His philosophy is not abstract theory, but something grounded in lived experience and suffused with genuine feeling. In his poetry, the movement often begins with external objects and then turns inward toward reflection. His emotions flow naturally from his brush, and through them we can sense the depth of his awakening.
「幽蘭生前庭，含薰待清風」是寫蘭花。蘭花為什麼用「幽」字來形容呢？我們知道，每個人天生下來的品格性情都不一樣，至於花草樹木，當然說不上品格性情，但它們所表現出的風格情調，也是天生來不一樣的。像牡丹花，花朵開得那麼大，顏色有紅、有紫那麼豔麗，那是牡丹的風格。蘭花的花朵不大，花瓣很纖細，顏色有淡綠、有白色都很淡雅，香氣也與眾不同。
Consider the lines: “A solitary orchid grows in the courtyard, / Its subtle fragrance awaiting the breeze.” Why does he describe the orchid as “solitary”? We know that people are born with different temperaments and dispositions. Although plants do not possess consciousness in the same way, they nevertheless display distinct qualities and characteristics that seem innate. For example, peonies are large, splendid, and richly colored—red, purple, and vibrant in tone. Their beauty is bold and expansive. Orchids, by contrast, are quite different. Their blossoms are small and delicate, their petals slender, and their colors—often pale green or white—are understated, quiet, and refined. Their fragrance, too, sets them apart.
中國舊時的女子，夏天喜歡戴一種白色的花叫「晚香玉」，那種花到了晚上香氣非常濃烈，那香氣可以說是有刺激性，甚至可以說是囂張的。但蘭花，不是不美，也不是不香，它的美和香都是含蓄的，不誇張，不虛浮，不給人以強烈的刺激，所以用一個「幽」字來形容。因此，「幽蘭」雖然是很尋常的一個詞，但它與這首詩接下來的文字描寫與思想內容，結合起來的時候，你就知道陶淵明用這個「幽」字，裡面有他自己對蘭花品格的體會。
In traditional China, women sometimes wore the flower known as “tuberose” (often called “night-blooming fragrance”), which releases a strong and penetrating scent after dark. Its fragrance is bold—one might even say overpowering. Orchids, however, are the opposite. It is not that they lack beauty or fragrance; rather, their scent is gentle, subtle, and restrained. They do not impose themselves upon the senses. For this reason, Tao Yuanming describes the orchid as “solitary.” Though the phrase itself is simple, when placed within the poem it reveals his deep perception of the orchid’s character—its quiet elegance and inward purity.
其實中國的舊詩之中哪一首是好詩？哪一首是壞詩？哪一首所含的情意比較豐富？哪一首所含的情意比較淺薄？不是我們憑偏愛就可以斷定的。我說陶淵明的詩好，是因為他真的是一位有眼光、有感受，又能夠用文字表達出來的詩人。一個好的詩人，能夠在萬物之中敏感地找到可以引起感發的事物，不像我們一般人每天看來看去，什麼東西也沒有發現。這叫作「具眼」，陶淵明就是一個「具眼」的詩人。
「含薰」兩個字就寫得好，真有眼光！他把蘭花最好的品質，一眼就看到了、掌握住了。世界上不管是草木鳥獸，還是學問道理，往往藏有許多很寶貴的東西。但我們一般人有時候太愚蠢了，對許多寶貴的東西常常熟視無睹。「含薰」是什麼？是說蘭花的香氣不是像晚香玉那樣誇張地發散出來，而是含蘊於其中的。要等到一陣清風吹過的時候，才能夠被人們認識。
The phrase “its fragrance held in bud” is beautifully written—truly insightful. Tao Yuanming captures, at a single glance, the finest quality of the orchid and holds onto it with precision. Everything in the world—whether trees and grasses, birds or animals—contains something precious. Yet most of us fail to perceive these qualities. It is not that they are absent, but that we lack the sensitivity to recognize them. Why, then, is the word “budding” used to describe fragrance? It suggests that the orchid’s scent is unlike that of the tuberose. The orchid does not immediately release its fragrance; rather, it gathers and contains it within itself, waiting quietly for a gentle, pure breeze. Only when the breeze arises does its fragrance gradually unfold. Without such a moment, people may not even notice its presence.
在我們這本教材中，這句話的註解引了《國語 • 周語》中的「火見而清風戒寒」，意思是當火星在西方天空出現時，天氣就慢慢涼了，這時清涼的風吹來，是警告你寒氣就要到了。這個註解我們不必管它。我以前說過，陶詩所用的語彙常常有一個出處，但有出處和用典故是不一樣的，陶淵明在這裡所說的「清風」不一定是秋天的風，出處和詩的內容不一定有必然的關係。
In the textbook we are using, the commentary on this line cites the Guoyu (“Discourses of Zhou”), which notes that when Mars appears in the western sky at night, the weather begins to cool, and a chill wind signals the coming of cold. However, we need not place too much emphasis on this interpretation. As mentioned earlier, Tao Yuanming often draws upon classical sources, but this does not mean that every phrase functions as a deliberate allusion. The presence of a source does not necessarily determine the meaning of the poem. Thus, the “breeze” here need not be restricted to an autumn wind; it is better understood more generally as the condition that allows the orchid’s fragrance to emerge.
不過，「幽蘭生前庭，含薰待清風」這話說起來，總是似乎有些矛盾，因為天下有些事情確實很難說清的。「含薰」是把香氣包含在裡邊，並沒有急著要表現；可是「天生麗質難自棄」，如果你天生來就有一種美好的品質，那麼在你的一生之中就應該得到一個表現的機會。晉朝左思的《詠史》詩說，「鉛刀貴一割」，既然叫作刀，即使是一把很鈍的鉛刀，也應該得到一次被使用的機會，才不辜負它之所以成為一把刀。蘭花也是一樣。
At first glance, the lines “A solitary orchid grows in the front courtyard, / Its fragrance held in bud, awaiting the breeze” may seem somewhat contradictory. The orchid contains its fragrance and does not hasten to reveal itself. Yet, as Bai Juyi writes in The Song of Everlasting Regret, “Natural beauty is difficult to conceal.” That is, what is inherently beautiful will, at some point, find the opportunity to manifest itself. Similarly, Zuo Si wrote in Poems on History: “Even a blunt knife has its use.” If something is called a knife, then—even if not sharp—it should still have the chance to be used. Otherwise, it fails to fulfill its nature. The same principle applies to the orchid.
古人說：「蘭生空谷，不為無人而不芳。」蘭花的本質是香的，不會因為沒有人欣賞它就不香了。所以你看，蘭花的香氣一方面是含蘊的，並不要求人知道；另一方面是，當外界環境有所改變，比如寒暑氣候有所變化時，蘭花的香氣總是要散發出來的。這兩方面相反相成，寫出了蘭花的品質。到這裡，陶淵明還只是寫院子裡的一株蘭花，可是你接著往下看，這裡邊不僅有感情，而且還有思想，慢慢地就都流露出來了。
As the ancients said, “Orchids grow in deep valleys, yet they do not cease to emit fragrance even when no one is there to appreciate them.” The orchid is fragrant by nature; it does not withhold its fragrance simply because there is no observer. Here we see two complementary aspects of its character: On the one hand, the orchid is restrained—its fragrance is subtle, implicit, and non-aggressive. It does not seek recognition.
On the other hand, when conditions arise—when the breeze comes—it naturally releases its fragrance. These two qualities—self-restraint and timely expression—stand in contrast, yet also complete one another. Together, they reveal the true nature of the orchid.Up to this point, Tao Yuanming appears merely to be describing a solitary orchid in the courtyard. Yet as we continue reading, we begin to sense not only emotion, but also the gradual unfolding of his thought.
「清風脫然至，見別蕭艾中」：「脫然」，是疾病除去後舒適的樣子，我們的教材上給它找到兩個出處。一個是《公羊傳 • 昭公十九年》的「復加一飯，則脫然愈」，一個是《淮南子 • 精神訓》的「當此之時，得茠越下，則脫然而喜矣」。但是還有一個古直註解的本子，他加了一個按語，說這個「脫然」是「清風至貌也」。這話很有意思，就是說這個「脫然」不只是《公羊傳》的「脫然」，不只是《淮南子》的「脫然」，更是陶淵明的「脫然」。它的好處，要到陶淵明的詩裡去找。所以你必須把「脫然」跟下一句「見別蕭艾中」聯繫在一起，才能夠知道它的好處。
“A sudden breeze arises, setting it apart from the grasses.” The phrase tuō rán (脫然), meaning “suddenly” or “unexpectedly,” conveys a sense of abrupt release—like a person who, after recovering from illness, suddenly feels light and at ease. There are two classical sources for this expression. One appears in the Gongyang Zhuan (“Duke Zhao, Year Nineteen”): “After taking another meal, he suddenly felt restored.” Another appears in the Huainanzi (“Instruction on Essence and Spirit”): “At that moment, he unexpectedly attained relief and felt joyful.” In his commentary on Tao Yuanming’s poems, Gu Zhi offers an interesting observation: here, tuō rán describes the sudden arrival of a cool breeze. This interpretation is significant, because it suggests that the meaning of tuō rán is no longer confined to its earlier textual definitions, but takes on a more immediate and vivid sense within Tao Yuanming’s poetic context. To fully appreciate the phrase, we must read it together with the next line: “setting it apart from the grasses.” Only then does its expressive power become clear.
「蕭艾」是氣味不好的惡草，屈原《離騷》說：「戶服艾以盈要兮，謂幽蘭其不可佩。」又說：「何昔日之芳草兮，今直為此蕭艾也？」許多人美惡不分，腰中佩戴了許多惡草，卻說美好的蘭花是不能佩戴的。這是說楚王寧可相信小人們的話，卻不相信屈原的話。下一句就更悲哀了，他說為什麼昨天的芳草，今天竟都染上了蕭艾的氣味變成了惡草？由此可見，幽蘭和蕭艾是完全不同的兩種草，有美惡之別。
The term xiāo ài (蕭艾), referring to common mugwort, carries a negative connotation. In the Chu Ci, the poet Qu Yuan laments in Li Sao (Encountering Sorrow): “How lamentable! What was once fragrant has now become foul.” Here, Qu Yuan criticizes a world in which people fail to distinguish between the worthy and the base. They adorn themselves with coarse, foul-smelling grasses, yet slander the orchid, saying it is unfit to be worn. In this context, Qu Yuan is alluding to King Huai of Chu, who chose to trust deceitful and petty courtiers rather than remain loyal to him. His lament grows even more sorrowful as he asks why what was once fragrant has now turned foul. From this, we see that the orchid and mugwort represent two fundamentally different qualities: the orchid stands for purity and integrity, while mugwort symbolizes corruption and moral decay.
那麼現在你就會明白，陶淵明為什麼用「脫然」。他不是說「貧居乏人工，灌木荒余宅」嗎？「灌木」就代表了那些野草、雜草，蘭花生在雜草之中，被雜草遮住了，你根本就看不見它，也聞不到它的香味。可是忽然間一陣清風吹過來，拂開了雜草，就給了幽蘭一個脫露出來的機會，它的香氣也隨風傳出來。這時候，你就看到蘭花和雜草的不同了。
By now, we can understand why Tao Yuanming used the word tuō rán (“suddenly”) in this poem. Earlier, he described his residence as overgrown with shrubs, with no means to hire workers to tend it. These shrubs include grasses and weeds. The orchid grows among them, yet is concealed—hidden from sight and its fragrance beyond reach. Then, all at once, a gentle breeze arises. It bends the surrounding grasses and weeds, revealing the orchid and giving it the opportunity to stand forth. At that moment, its fragrance is released and carried along the wind. Only then does one perceive how distinct the orchid is from the common grass.
陶淵明寫的是清風，是蘭花，可是「一切景語皆情語也」。你看他對清風、對蘭花，有多麼深刻細緻的內心感受！上次宣化上人曾在這裡說：「如果你真的學道有得，你就會發現萬物都在說法。」就是說，宇宙萬物都在講說某種道理，問題只在於你能否感受到罷了。陶淵明從景物的體驗中產生了一種思致，所以他的詩從這裡一轉，就轉向了下半首對人生道理的體悟。
Yet Tao Yuanming is not merely describing a natural scene. As we have said, “all descriptions of external things are expressions of the inner mind.” Through this image of breeze and orchid, we can sense the subtlety and clarity of his inner awareness. As Hsuan Hua once said, “If one truly attains realization in cultivation, then all things speak the Dharma.” That is, all phenomena in the universe reveal principles—the question is whether one is able to perceive them. From this scene, Tao Yuanming arrives at a moment of insight. At this point, the poem turns inward, moving from description to reflection on life.
他說：「行行失故路，任道或能通。」我本來以為我走的那一條做官的道路是對的，因為孔子說過讀書人要「修身齊家治國平天下」；可是走來走去，我忽然發現這條路不對了，我怎麼竟和那些爭權奪利的小人們混在一起了呢？然而，當你發現迷失了道路的時候，你怎樣把自己找回來？這個人勸你，家庭生活問題你一定要考慮啊；那個人勸你，某某人你可千萬不能得罪啊。你要是聽他們的，就會在迷失的道路上越走越遠。所以你要「任道」，就是相信「道」。
He writes: “I walk and walk, until I lose my way; / Following my heart, I may yet return.” He is saying: I once believed that the path of official service was the right one. Having studied the teachings of Confucius, I thought that a scholar should cultivate himself, regulate his family, govern the state, and bring peace to the world. Yet after wandering back and forth, I suddenly realized that I had gone astray. Why had I fallen into the company of petty people, competing for power and profit? But when one has lost the way, how does one return? Some may advise: “You must think of your family—they depend on you.” Others may say, “Do not offend those in positions of power.” If one follows such advice blindly, one may drift even farther from the true path. Therefore, one must instead trust in and return to the Way.
什麼是「道」？儒家、佛家、道家都說「道」，各家的道大有不同；但總的來說，它是宇宙天地間一種正當的道路。儒家的經典在「道」方面給人們很多啟示，比如孟子說「居仁由義」（《孟子 • 盡心》），意思是：你的內心不應該離開「仁」，你的行事要遵循「義」；孔子說「回也其心三月不違仁」（《論語 • 雍也》），意思是：顏回的內心總是和「仁」在一起，可以在很長時間內不起一點兒不正當的念頭。這是儒家做人的道理。孔子還說過「非禮勿視，非禮勿聽，非禮勿言，非禮勿動」（《論語 • 顏淵》），這也是講「道」的持守。What is the Way? The Way is a central concept in Confucianism, Daoism, and Buddhism, yet each tradition interprets it differently. Broadly speaking, the Way may be understood as the proper path between Heaven and Earth—the right course for human life. Confucian classics offer many insights into the Way. For example, Mencius said, “Dwell in ren and walk the path of righteousness” (Mencius, “Jin Xin”). This means that one’s heart should never depart from ren (benevolence), and one’s conduct should always accord with righteousness. Confucius also said, “Yan Hui’s mind did not depart from ren for as long as three months” (Analects, “Yong Ye”). This describes a state in which one’s mind remains consistently aligned with virtue—free from improper thoughts, even in the slightest degree. Such is the Confucian ideal of moral cultivation. He further taught: “Do not look at what is improper; do not listen to what is improper; do not speak what is improper; do not act in ways that are improper” (Analects, “Yan Yuan”). This is the discipline by which one safeguards the Way.
可是我還要說，光講道的持守，這個也不敢說，那個也不敢做，那就沒有「任道」的快樂。真正「任道」的人，是要如孔子所說的「從心所欲不踰矩」（《論語 • 為政》）。就像魚游在清涼的水裡一樣，那水對你不是一個限制，而是使你脫離煩惱憂患，使你內心充實快樂的一個源泉。陶淵明《詠貧士》說：「貧富常交戰，道勝無戚顏」。他忍受了多少飢寒勞苦，可是臉上的表情卻平安快樂。那不是裝出來的樣子，是他內心真的達到了這樣一種境界。所以當你「行行失故路」的時候，你要「任道」，才能找到一條精神上的出路。
However, if one merely clings rigidly to such rules—afraid to speak or act freely—then one is not truly in accord with the Way. One is not yet following the natural movement of the heart. A person who truly accords with the Way embodies what Confucius described as: “Following the desires of the heart without transgressing what is right” (Analects). In such a state, there is no tension between inner impulse and moral principle. It is like a fish swimming in clear water: the water does not constrain it, but instead supports it, bringing ease and joy. The Way, when truly realized, is not a burden, but a source of freedom. Tao Yuanming expressed this in In Praise of the Impoverished Scholars: “In my heart, there is constant tension between poverty and wealth; / Yet the Way prevails, and my face is free of worry.” Though he endured hunger, cold, and toil, he maintained a calm and contented demeanor. This was not something he could have feigned—it was the natural expression of his inner state.
不過，陶淵明之所以作了歸隱田園的選擇，是否完全由於他的「任道」，而沒有任何其他原因呢？不是的。這首詩的最後兩句就透露了另外一個原因：「覺悟當念還，鳥盡廢良弓。」他覺悟到什麼？覺悟到仕宦的道路風波險惡。因為「鳥盡廢良弓」出自《史記 • 淮陰侯列傳》，是韓信所說的一句話。韓信輔佐劉邦被封為齊王，但他的兵權太大，劉邦對他很不放心。於是有一個叫蒯通的說客，就借看相的名義勸韓信造反，他說：「相君之面不過封侯，又危不安；相君之背，貴乃不可言。」這是一種暗示，意思是你如果背叛了劉邦，將來有做皇帝的希望。蒯通還說，如果你不肯做決斷，將來野獸盡而獵狗烹，你不會有好的結果。
Yet we must also ask: was Tao Yuanming’s decision to resign from official life solely the result of this inner awakening? Not entirely. In the final lines of the poem, he reveals another factor: “I awaken and know that I shall return home—For when the birds are gone, the good bow is set aside.” To what did he awaken? He awakened to the dangers of official life. The saying “When the birds are gone, the good bow is put away” comes from the Records of the Grand Historian, in the biography of the Marquis of Huaiyin. It refers to Han Xin, a brilliant general who helped Liu Bang establish the Han dynasty. Because of his great achievements, Han Xin was granted high rank and power. Yet this very power made Liu Bang wary of him. At that time, an advisor named Kuai Tong urged Han Xin to rebel. Kuai Tong argued: judging from your appearance, you may rise to the rank of marquis—but such a position is fraught with danger. Yet from another perspective, you possess the potential for even greater destiny. Here, the word “back” (bei) subtly suggests rebellion, implying that Han Xin could contend for the throne. He warned further: if you do not decide, you will eventually meet the fate of “a loyal hound that, once the hunt is over, is boiled by its master.”
但韓信不忍背叛，還是幫助劉邦消滅了項羽，後來劉邦改封韓信為楚王，又用偽游雲夢的詭計逮捕了韓信，帶回京城貶為淮陰侯。當武士逮捕韓信時，韓信說：「果若人言，狡兔死，良狗烹，高鳥盡，良弓藏。」就是說，如果兔子都被打死了，那麼獵狗也就沒用了，常常會被宰掉吃狗肉；如果天上的鳥都沒有了，弓箭也就該收起來沒有用處了；我幫助劉邦消滅了他所有的敵人，他現在就要來對付我了。韓信最後果然是被殺死的，而且還不止韓信，像彭越、鯨布等很多人，都為劉邦立過大功，但最後都被殺死了。這是漢朝的事情。而在陶淵明的時代，這種不講信義的事情比漢朝只多不少。
However, Han Xin could not bring himself to rebel against Liu Bang. Instead, he continued to assist Liu in eliminating his great rival, Xiang Yu. After the unification of the realm, Liu Bang initially enfeoffed Han Xin as King of Qi, but later reassigned him as King of Chu. Eventually, Liu used a ruse—pretending to tour Yunmeng, Han Xin’s territory—to summon and capture him. Han Xin was taken to the capital and demoted to the Marquis of Huaiyin. When he was arrested, Han Xin exclaimed: “It is just as they said: when the cunning rabbits are gone, the hunting dogs are cooked; when the birds are all shot, the good bows are put away.” The meaning is clear: once the task is accomplished, those who contributed are no longer needed. The hunting dog, having served its purpose, is slaughtered; the bow, having fulfilled its function, is set aside. Han Xin realized that having helped Liu Bang eliminate all rivals, he himself had now become expendable. In the end, Han Xin was executed. Nor was he alone—other meritorious figures such as Peng Yue and Ying Bu met similar fates. Though they had rendered great service, they were ultimately destroyed.
在晉安帝義熙八、九年之間，劉裕不遺餘力地誅除異己，先後殺死了劉藩、謝混、劉毅、諸葛長民兄弟等很多人。這些人當初曾和劉裕一起征討桓玄，現在桓玄被消滅了，這些人就成了被消滅的對象。據歷史記載，諸葛長民被殺之前曾對人說：「昔年醢彭越，今年殺韓信，禍其至矣。」「醢」是一種很慘的刑法，就是用亂刀砍死，據說彭越就是被砍成肉醬的。諸葛長民還說：「貧賤常思富貴，富貴必履危機，今日欲為丹徒布衣，豈可得邪？」他說我現在已經知道仕途的危險，可是我已經不能退身了。
Such events were not confined to the Han dynasty. By Tao Yuanming’s time, such betrayals had become even more frequent. During the Yixi reign of Emperor An of Jin (c. 413–414), the warlord Liu Yu ruthlessly eliminated his political rivals, including Liu Fan, Xie Hun, Liu Yi, and Zhuge Changmin. These men had once followed Liu Yu in campaigns against Huan Xuan. Yet once Huan Xuan was defeated, they themselves became the next targets. Before his execution, Zhuge Changmin lamented: “In the past, Peng Yue was cut down, and then Han Xin was killed. The calamity that befell them has now come upon me.” The term hǎi (醢) refers to a brutal punishment—dismemberment, in which the body is cut into pieces. It is said that Peng Yue was executed in this manner, his flesh reduced to fragments. Zhuge Changmin further reflected: “The poor long for wealth and honor; yet those who attain wealth and honor walk a perilous path. Now, even if I wished to become an ordinary man, how could I possibly do so?” He recognized too late that official life was fraught with danger, yet by then he could no longer withdraw.
由此可見，「覺悟」是很重要的，陶淵明早年為桓玄做過事，也為劉裕做過事，那時候桓玄和劉裕還沒有反叛朝廷，可是陶淵明已經看清了他們的本質：這些軍閥沒有一個人為國家人民的利益著想，他們所爭的都是一己的私利，而且毫無信義，不擇手段。因此，陶淵明遂決定及時退身，不做那宦海波濤裡的犧牲品。
From this, we see how crucial it is to awaken in time. Tao Yuanming, in his earlier years, served under both Huan Xuan and Liu Yu. At that time, neither had yet openly rebelled against the Jin court. Yet Tao was able to see through their true character. He understood that these warlords were not guided by concern for the state, but driven by personal ambition. In such an environment, loyalty and trust could not be relied upon. Recognizing the danger, Tao Yuanming chose to withdraw before it was too late. He refused to remain entangled in the treacherous currents of official life, thereby avoiding the tragic fate that befell so many others.♦