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Mountain Rocks

Rugged rocks make the winding pathway small;
at dusk I reach the temple as the bats take flight.
Up on the steps, the recent rain is all
that feeds broad plantain leaves and gardenias bright.
The monks praise ancient frescoes on the wall;
we bring a torch to pierce the shadowy night.
They spread my mat and set out simple fare,
coarse grain enough to stay a traveler's hunger.
Deep in the night, no insect stirs the air;
the clear moon scales the ridge where shadows wander.
At dawn I walk alone without a guide,
through rising mists that shroud the mountain side.
The streams are emerald, the hills are red,
and ancient pines ten spans around tower overhead.
Barefoot I step across the rushing stream,
while water splashes and the garments gleam.
To live like this is joy enough indeed—
why wear the bit and harness for world's greed?
Ah, friends of mine, companions in my thought,
when shall we retire to what we long have sought?
山石犖確行徑微,黃昏到寺蝙蝠飛。
升堂坐階新雨足,芭蕉葉大支子肥。
僧言古壁佛畫好,以火來照所見稀。
鋪牀拂席置羹飯,疎糲亦足飽我飢。
夜深靜臥百蟲絕,清月出嶺光入扉。
天明獨去無道路,出入高下窮煙霏。
山紅澗碧紛爛漫,時見松櫪皆十圍。
當流赤足蹋澗石,水聲激激風吹衣。
人生如此自可樂,豈必局束爲人鞿。
嗟哉吾黨二三子,安得至老不更歸。
shān shí luò què háng jìng wēi, huáng hūn dào sì biān fú fēi.
sēng yán gǔ bì fó huà hǎo, yǐ huǒ lái zhào suǒ jiàn xī.
pū chuáng fú xí zhì gēng fàn, shū lì yì zú bǎo wǒ jī.
yè shēn jìng wò bǎi chóng jué, qīng yuè chū lǐng guāng rù fēi.
tiān míng dú qù wú dào lù, chū rù gāo xià qióng yān fēi.
shān hóng jiàn bì fēn làn màn, shí jiàn sōng lì jiē shí wéi.
dāng liú chì zú tà jiàn shí, shuǐ shēng jī jī fēng chuī yī.
rén shēng rú cǐ zì kě lè, qǐ bì jú shù wéi rén jī.
jiē zāi wú dǎng èr sān zǐ, ān dé zhì lǎo bù gèng guī.
Mountain rocks rugged, walking path minute, dusk arriving at temple, bats flying.
Ascending hall, sitting on steps, recent rain sufficient, plantain leaves large, gardenia fat.
Monks say ancient wall Buddha paintings good, with fire coming to illuminate, what is seen is rare.
Spreading bed, dusting mat, placing broth and rice, coarse grain also sufficient to satisfy my hunger.
Night deep, quietly lying, hundred insects extinct, clear moon emerges from ridge, light enters door.
Dawn bright, alone departing, without road, going out and coming in, high and low, exhausting mist and vapor.
Mountain red, stream emerald, brilliantly scattered, at times seeing pine and oak trees all ten spans round.
Facing current, bare feet treading stream rocks, water sound gushing gushing, wind blows garments.
Human life being thus is naturally pleasurable, how must one be constrained and made a horse's bit?
Alas, my faction of two or three fellows, how to attain old age without returning again?

I. Formal Poetic Architecture & Meter

This masterpiece by Han Yu is composed in irregular ancient-style verse, commonly known as Gu ti shi. Unlike the strict tonal constraints of regulated verse, this form allows for fluid line lengths, varying rhyme schemes, and dramatic shifts in narrative tempo. The poem moves freely across several rhyme changes, echoing the erratic terrain of the rugged mountains and the fluctuating emotional states of the poet as he journeys from daylight into nocturnal solitude, and finally into morning epiphany.

II. Historical Chronology & Existential Impulse

Written during Han Yu's demotion and exile to the remote southern frontier of Chaozhou, the poem captures the psychological complex of a dedicated Confucian moralist confronting political marginalization. Far from the imperial capital of Chang'an, Han Yu seeks solace in the wild topography of the southern mountains. The text reflects his profound existential weariness with court intrigue and bureaucratic servitude, contrasting the stifling confines of imperial service with the liberating embrace of untamed nature.

III. Line-by-Line Exegesis & Allusion Decoding

The poem traces a complete nocturnal journey at a mountain monastery, shifting from physical exhaustion to spiritual liberation.

  • Lines 1-2 (Opening Couplet): Line 1 ("Mountain rocks rugged, walking path minute") establishes an atmosphere of harsh isolation, immediately followed by the uncanny arrival at dusk in Line 2 ("dusk arriving at temple, bats flying").
  • Lines 3-4 (First Antithetical Turn): The interior of the temple is revealed through tactile imagery in Line 3 ("Ascending hall, sitting on steps, recent rain sufficient") and Line 4 ("plantain leaves large, gardenia fat"), emphasizing botanical vitality nourished by recent rain.
  • Lines 5-6 (Second Antithetical Turn / Climax): The exploration of the dark temple interior in Line 6 ("with fire coming to illuminate, what is seen is rare") creates an eerie, archaeological atmosphere before settling into the frugal hospitality of Line 8 ("coarse grain also sufficient to satisfy my hunger").
  • Closing Lines (Resolving Couplet): The final movement erupts into raw sensory engagement with the landscape in Line 16 ("water sound gushing gushing, wind blows garments"), culminating in a profound philosophical rejection of official harness in Line 18 ("how must one be constrained and made a horse's bit?").

IV. Cultural Symbolism & Key Metaphors

The poem utilizes rich natural imagery to articulate moral and psychological truths.

  • Mountain Temple: Symbolizes a liminal space of refuge where the weary scholar escapes the corrupting machinery of imperial bureaucracy.
  • Barefoot Walking: Represents complete physical and spiritual unburdening, shedding the rigid ritualistic footwear and social decorum demanded by the court.

V. Philosophical Core & Global Resonance

The thematic heart of Mountain Rocks lies in its profound synthesis of Confucian duty and Daoist detachment. Although Han Yu was fiercely opposed to Buddhism and Daoism institutionally, his poetic imagination continually appropriates the tranquil mountain retreat as a sanctuary for the disillusioned scholar. The concluding lament yearns for a utopian reclusion where friendship and nature supersede political ambition, rendering the poem a universal hymn to human freedom against the pressures of authoritarian statecraft.

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