The woodcutter said: 'Your idle hours are still no match for the goodness of mine. I too have a poem to prove it. The poem runs:'

那 in 你那閑時 is the demonstrative nà; 為 in 為證 is wéi. The woodcutter answers the fisherman's 律詩 with one of his own, matching form and theme.

At my leisure I watch the white clouds drift, faint and far; sitting alone in my thatched hut, I close my door of bamboo.

The woodcutter's 首聯 mirrors the fisherman's line for line — 縹緲白雲 ('faint, ethereal clouds') answering 蒼天白鶴, and 竹扉 ('bamboo door') answering 蒼扉.

With nothing to do, I set my children to open the scrolls and read; and now and then, facing a guest, I take up a game of go.

訓兒 ('instructing the children') answers 教子; 把棋圍 is to play 圍棋 (go), 對客 'facing a guest.' The go-match is a motif the chapter will later develop at length in the game between Taizong and 魏徵.

When joy comes, staff in hand, I sing along the fragrant path; when the mood strikes, I carry my qin up the green mountainside.

策杖 is 'to walk leaning on a staff'; 興 here is xìng, 'mood, inspiration,' and 翠微 the hazy green of the mid-slopes. The 頸聯 turns, like the fisherman's, to mood and motion — but outward, to hills that invite walking and song.

Straw sandals, a hempen sash, a coverlet of coarse cloth — with an easy heart, far better than wearing robes of silk.

麻絛 is a hempen sash; 強似 ('better than') takes 似 as sì, and 著 in 著羅衣 ('to wear silk robes') is zhuó. The 尾聯 answers the fisherman's 紫綬衣 with 羅衣 — silken luxury again refused for an easy heart; the 」 closes the poem.