陋室铭 - 刘禹锡
Inscription on a Humble Abode - Liu Yuxi
In Simple Rooms, Great Spirits Dwell
山不在高，有仙则名。
A mountain need not be high—if an immortal lives there, it is renowned.
水不在深，有龙则灵。
A body of water need not be deep—if a dragon resides within, it is wondrous.
斯是陋室，惟吾德馨。
Here is a humble abode; only virtue brings it fragrance.
苔痕上阶绿，草色入帘青。
Moss creeps green on the steps; grasses lend the curtains a verdant hue.
谈笑有鸿儒，往来无白丁。
In conversation are great scholars; none who come and go are unlettered.
可以调素琴，阅金经。
One may tune a simple lute, peruse scriptures of gold.
无丝竹之乱耳，无案牍之劳形。
There are no cacophonous instruments to trouble the ear, no bureaucratic documents to weary the body.
南阳诸葛庐，西蜀子云亭。
Recall Zhuge Liang’s cottage in Nanyang, or Yang Xiong’s pavilion in western Shu.
孔子云：何陋之有？
Confucius said: “How can there be anything shabby about it?”
A mountain need not be high—if an immortal lives there, it is renowned.
水不在深，有龙则灵。
A body of water need not be deep—if a dragon resides within, it is wondrous.
斯是陋室，惟吾德馨。
Here is a humble abode; only virtue brings it fragrance.
苔痕上阶绿，草色入帘青。
Moss creeps green on the steps; grasses lend the curtains a verdant hue.
谈笑有鸿儒，往来无白丁。
In conversation are great scholars; none who come and go are unlettered.
可以调素琴，阅金经。
One may tune a simple lute, peruse scriptures of gold.
无丝竹之乱耳，无案牍之劳形。
There are no cacophonous instruments to trouble the ear, no bureaucratic documents to weary the body.
南阳诸葛庐，西蜀子云亭。
Recall Zhuge Liang’s cottage in Nanyang, or Yang Xiong’s pavilion in western Shu.
孔子云：何陋之有？
Confucius said: “How can there be anything shabby about it?”
“Inscription on a Humble Abode” (《陋室铭》) by Liu Yuxi is a celebrated short prose-poem from the Tang Dynasty. Composed as a ‘铭’ (ming)—an inscription that extols virtues or records moral ideals—it exemplifies the Confucian emphasis on moral integrity over external ornament. Despite calling his living quarters a ‘humble abode,’ the author insists that a space defined by virtue and intellectual companionship transcends any material shortcomings.
In each couplet, Liu Yuxi draws a contrast between external appearances and deeper qualities. A mountain’s renown depends on the immortals who dwell there; a body of water’s mystique arises from a legendary dragon. By analogy, a modest dwelling becomes grand when occupied by someone of upright character. The poet’s focus on the presence of worthy friends and the peaceful pursuits of music and reading underscores a scholar’s ideal life—refined, studious, and removed from worldly clamor.
Mentioning historical figures—Zhuge Liang, the brilliant strategist who lived in rustic retreat, and Yang Xiong, the scholar in western Sichuan—reinforces the idea that true distinction lies not in lavish settings but in wisdom and virtue. The closing line from Confucius, “How can there be anything shabby about it?” (何陋之有), acts as a rhetorical flourish affirming that real worth resides in one’s moral or intellectual depth, not in the grandeur of one’s residence.
“陋室铭” has endured through the centuries as a succinct reminder of how simplicity, sincerity, and a life of the mind can confer dignity far surpassing material display. The piece is recited by students and admired by scholars for its elegant argument: a cramped or unadorned space can shine with the splendor of noble thought and refined conduct.
Key points
• Demonstrates the Confucian tenet that virtue and intellect bestow true honor, regardless of material conditions.
• Uses nature-based analogies (mountains, waters) to highlight that intrinsic qualities outweigh outward form.
• Invokes historical allusions (Zhuge Liang, Yang Xiong) as paragons of simple living and high thinking.
• Encourages readers to value scholarship, friendship, and moral integrity above wealth or social rank.
Comments
GoldenBladI’m reminded of how Li He’s haunted lines can portray sorrow in grand mansions. By contrast, Liu Yuxi here suggests that even a tiny home can shine with warmth if inhabited by wisdom and integrity. Both poets tie environment to soul, but in strikingly different emotional shades.
Thunder HawkOne short reflection: in modern times, we see people embracing minimalism—tiny homes or decluttered living spaces—citing freedom from material burden. ‘陋室铭’ speaks to that same principle, centuries earlier, reminding us that dignity emerges from inner virtue, not from square footage or fancy décor.
Bold Blue WolfCompared to Bai Juyi’s more direct social critiques, Liu Yuxi’s approach is subtler. While Bai Juyi might lament unfair taxes or corruption, here Liu Yuxi underscores moral steadfastness in the face of humble means, proving that one can critique superficial values without overt condemnation—just by living an example of tranquil simplicity.
Stealthy LynxEach line resonates with a serene clarity: the poet basically says that worth is formed by intellectual and moral substance, not by lavish trimmings. It’s a powerful, quietly rebellious stance against shallow judgments.
Crimson KnightCompared to Liu Yuxi’s own celebratory pieces about city life, ‘陋室铭’ stands out for how it focuses not on the bustle of urban culture but on the silent pride of a single, unassuming home. Both, however, share an underlying optimism that virtue and beauty can flourish in any setting.
HyperNovaXAgain, contrasted with Du Fu’s harrowing accounts of battered dwellings and public despair, Liu Yuxi’s tone is more personal and uplifting. Where Du Fu exposes the grim struggles of society, Liu Yuxi chooses a gentle affirmation that a space’s moral and intellectual ambiance can transcend material conditions. In both cases, the dwelling stands as a metaphor for deeper human truths.
Lone Gray Bat CaveI love how the entire piece seems to whisper, “A modest room doesn’t confine a lofty spirit.” Each phrase reveals a gentle pride in simplicity, quietly defying societal norms of equating luxury with worth.
GenesisNOVThese lines radiate a calm conviction, suggesting that true worth resides not in lavish surroundings but in the character of the person within.
Silent Blue EagleShort yet crisp, the poem reminds me of how Li Bai often highlighted the grandeur of nature rather than manmade opulence. Yet while Li Bai’s verses might celebrate a mountain’s majesty, here Liu Yuxi focuses on the quiet dignity of a humble dwelling, emphasizing inner virtue above external glamour. Both perspectives challenge our obsession with outward show, urging us instead to cultivate the depth within.
