汉 Han · 古诗 Ancient poem
凛凛岁云暮
Cold, Cold, the Year Draws to Its End
凛凛岁云暮，蝼蛄夕鸣悲。
凉风率已厉，游子寒无衣。
锦衾遗洛浦，同袍与我违。
独宿累长夜，梦想见容辉。
良人惟古欢，枉驾惠前绥。
愿得常巧笑，携手同车归。
既来不须臾，又不处重闱。
亮无晨风翼，焉能凌风飞。
眄睐以适意，引领遥相睎。
徙倚怀感伤，垂涕沾双扉。
The chill wind has grown fierce; the wanderer is cold and has no coat.
The brocade quilt is left at the Luo shore; he who shared my robe is parted from me.
Alone I pass the long night; in dream I see the light of your face.
My good man thinks only of our old joy; he condescends to drive and grant the front rein.
I wish to keep your gentle, cunning smile, and hand in hand ride home in the same car.
But you come and stay not a moment; you do not stay within the double curtain.
Truly I have no wings of the Morning Wind; how can I ride the wind and fly?
I glance about to ease my heart; I stretch my neck and gaze afar.
I linger, grieving; tears fall and wet the two leaves of the door.
Meaning
Cold, cold, the year is ending, and the mole-cricket cries in grief at dusk. The cool wind has grown fierce, and the wanderer is cold with no winter clothes. The brocade quilt is left at the Luo shore; the one who shared my robe is far away. Alone I pass the long night, and in dream I see the radiance of your face. My good man thinks only of our former joy, and deigns to drive his car and give me the front rein. I wish to keep your merry, cunning smile, and ride home hand in hand in the same carriage. Yet you come and stay but a moment, and do not remain within the inner curtain. Surely I have no wings of the Morning Wind bird; how could I ride the wind and fly to you? I look about to comfort myself, and stretch my neck to gaze from afar. I pace and grieve; my tears fall and wet the two doors.
凛冽啊一年又将尽，蝼蛄在傍晚悲鸣。凉风已经迅猛凄厉，游子身上寒冷没有冬衣。锦被遗留在洛水之滨，与我同袍的人远离分离。独自宿眠挨过漫漫长夜，梦中相见你容颜的光辉。良人只念往日欢好，屈尊驾车赐予前绥。愿能常得你巧笑嫣然，携手同车而归。既来却又片刻不留，又不处在重重闺房之内。谅必没有晨风鸟的翅膀，怎能凌风高飞相随。顾盼以自宽慰，伸长脖颈遥遥相望。徘徊感伤，泪下沾湿了双扉。
Appreciation
This is the sixteenth of the Nineteen Old Poems in the Wen Xuan, usually dated to the late Eastern Han. The poem's art lies in its three-layered interplay of real-dream-awake. The opening four lines write the real year's end — 'cold', 'the fierce cool wind', 'the mole-cricket's grieving cry', 'cold with no clothes' — using the desolate scene to set off the lone, chilled body. 'Alone I pass the long night' turns into dream, spreading the warmth of the reunion ('he grants the front rein', 'hand in hand ride home'); then 'you come and stay not a moment' turns sharply, the dream shatters and we wake. The last lines write the waking sorrow: 'truly I have no wings of the Morning Wind' sighs at the inability to follow, and 'stretch my neck and gaze', 'tears wet the door' write the longing through gesture. The warmth of dream and the cold of reality form a strong contrast, lingering and turning back on itself, gaining the legacy of the airs — a high-school favorite for its writing of longing and the grief of wandering.
【白话串讲】 岁末天寒，游子没有寒衣。妻子独宿长夜，梦见丈夫驾车来接她：“愿得常巧笑，携手同车归”。可梦醒，“既来不须臾，又不处重闱”——梦里的人，转眼就没了。 【意象与手法】 本诗章法以「现实—梦境—梦醒」三层虚实相生见长。起四句实写岁暮孤寒之景，中段转入梦境，铺陈欢会之温软，继以「既来不须臾」陡转梦醒，末四句写醒后怅惘，缠绵往复，得《国风》遗韵。 【情感与主旨】 《凛凛岁云暮》为《文选》所录《古诗十九首》之十六，通常判为东汉后期无名氏之作。东汉末叶，战乱与征役使大量士人百姓流离他乡，「游子寒无衣」「同袍与我违」正是岁暮不归、孤栖异乡的普遍写照。诗中写岁暮孤寒中的相思，或以为游子自叹，或以为思妇念远，两说并存，皆折射汉末离乱中普通人「岁暮望归」的集体乡愁。 【名句点睛】 中高考考点：①主旨——岁暮孤寒中的相思与漂泊之悲；②结构——现实、梦境、梦醒的虚实递转；③「晨风翼」用《诗经·秦风·晨风》典的深意；④「游子寒无衣」的社会写实意义。
Background
This is the sixteenth of the Nineteen Old Poems in the Wen Xuan, generally taken as anonymous work of the late Eastern Han. In the late Han, war and conscription drove countless scholars and common folk from home; 'the wanderer is cold with no clothes' and 'he who shared my robe is parted from me' are the common portrait of year-end non-return and lonely sojourn. The poem speaks in the first person of longing at the cold year's end — some read it as the wanderer's own sigh, some as a woman missing the far traveler (the words 'good man', 'the light of your face' often sound female). Both readings persist; either way it reflects the collective homesickness of ordinary folk in late-Han disorder, an important piece in the Nineteen Old Poems' 'banished minister and abandoned wife' pathos.
《凛凛岁云暮》为《文选》所录《古诗十九首》之十六，通常判为东汉后期无名氏之作。《古诗十九首》是东汉末年下层文人的集体创作，多写游子思妇的离愁别恨、人生易逝的感慨与功名难就的悲叹。东汉末叶，外戚宦官专权，党锢之祸频仍，战乱与征役使大量士人、百姓被迫离乡背井，或游宦京师，或从军戍边，漂泊无依，「游子寒无衣」「同袍与我违」正是这种岁暮不归、孤栖异乡境遇的普遍写照。诗以第一人称写岁暮孤寒中的相思：或以为游子自叹（寒无衣、独宿是游子口吻），或以为思妇念远（「良人」「容辉」「重闱」多从女性视角），历来两说并存，而皆不离汉末离乱的大背景。无论主名谁属，此诗皆折射出那个时代普通人「岁暮望归」的集体乡愁，是《十九首》「逐臣弃妇」式悲情的重要一篇。又《古诗十九首》诸篇多写游子思妇与人生感慨，此诗为其一，然较之《行行重行行》《明月何皎皎》等篇，此诗于现实—梦境—梦醒的三层结构上更为匠心独运，可见东汉文人诗在章法经营上的进步；且东汉末年战乱频仍，游子不归、思妇独守实为普遍现象，此诗所写正是千万普通人的共同境遇，故能引起广泛的共鸣。
Art
The poem's structure excels in the interplay of real-dream-awake across three layers. The first four lines write the real year's end: 'cold', 'the cool wind has grown fierce', 'the mole-cricket's grieving cry', 'cold with no clothes' — using the scene's bleakness to set off the body's loneliness. 'Alone I pass the long night' turns into dream, spreading the soft warmth of the reunion ('he deigns to drive', 'hand in hand ride home'); 'you come and stay not a moment' turns sharply, the dream breaks and we wake. The last four lines write the waking loss: 'truly I have no wings of the Morning Wind' sighs at the inability to follow, and 'stretch my neck and gaze', 'tears wet the doors' write the longing through gesture. The warmth of dream and the cold of reality form a strong contrast, lingering and turning, gaining the legacy of the airs.
本诗章法以「现实—梦境—梦醒」三层虚实相生见长，是《古诗十九首》中结构最精巧的篇什之一。起四句实写岁暮：「凛凛」「凉风率已厉」写寒气之逼人，「蝼蛄夕鸣悲」写秋虫之悲鸣，「游子寒无衣」写身之孤寒，以景之凄切衬身之孤寒，层层铺写岁暮的凄凉。「锦衾遗洛浦，同袍与我违」由物及人，暗写离人之远，转入相思。「独宿累长夜，梦想见容辉」由实入虚：独宿难眠，遂于梦中得见良人，「良人惟古欢」「携手同车归」铺陈梦中欢会之温软，梦境的暖与现实的冷形成强烈反差。「既来不须臾，又不处重闱」陡转，梦碎而醒，欢会之虚渺与无常毕现。末四句写醒后怅惘：「亮无晨风翼」叹无力相随，「眄睐以适意，引领遥相睎」以动作写痴望，「徙倚怀感伤，垂涕沾双扉」以涕泪收束。三层递转，虚实相生，缠绵往复，深得《国风》遗韵。全诗以「梦」为枢纽，将现实之寒、梦境之暖、梦醒之悲三重境界层层对照，缠绵往复，如环无端；语言则浑朴自然，不事雕琢，正合《十九首》「深衷浅貌，短语长情」之评，其叙事之婉转、言情之深挚，皆为汉诗之上乘。
Allusions
In 'truly I have no wings of the Morning Wind, how can I ride the wind and fly' the poem softens the imagery of the bird in the Qin Feng hymn 'Morning Wind' — 'swift is the morning wind, thick the northern wood' — using the morning wind (a hawk) that flies fast to mean wishing to go yet cannot, a sigh of drifting without wings. 'He who shared my robe' comes from the Qin Feng hymn 'No Clothes' ('I share my war-robe with you'), here reversed to write the parting of 'parted from me'. 'He grants the front rein' — the rein is the strap one holds when mounting a carriage (the Li Ji says 'in ascending the carriage one must stand straight and hold the rein'), writing the detail of the good man driving to meet her. All allusions are rooted in the Songs, softened without trace, fitting the Han learning of 'every line has a source'.
诗中用典皆本《诗经》，浑化无痕。「亮无晨风翼，焉能凌风飞」化用《诗经·秦风·晨风》「鴥彼晨风，郁彼北林」之典：晨风即鹯鸟，善疾飞，诗人叹自己谅必没有晨风鸟的翅膀，怎能凌风飞去追随良人，以鸟之能飞反衬人之无翼，寄飘零无翼、欲从不得之叹。「同袍」出《诗经·秦风·无衣》「岂曰无衣，与子同袍」，本写军旅中人与子同袍的友爱，此处反用其意，写「同袍与我违」的离散——曾共衣袍之人今已远违，更见孤寂之深。「惠前绥」之「绥」为上车时挽手所用的绳索，《礼记·曲礼》有「升车必正立执绥」之制，写良人驾车相迎、屈尊授绥的礼制细节，以此写梦中良人之殷勤，愈见梦醒后之凄凉。三处用典皆本经书，而融化于叙事抒情之中，正合汉人「句句有本」的学养与「直而不野」的诗风。又「良人惟古欢，枉驾惠前绥」写梦中良人之情，「惟古欢」写其念旧，「惠前绥」写其礼敬，皆以古礼写深情，愈见梦境之温软；「愿得常巧笑」之「常」字，写相聚之愿其永，与「既来不须臾」的骤醒对照，梦境愈美，醒后愈悲，虚实相生之间，相思之深自然流露。
Commentary
Li Shan's commentary to the Wen Xuan says this piece 'speaks of the year's end and thinking of the good man'. The Ming critic Hu Yinglin in 'Poetry Criticism' says: 'Among the Nineteen Old Poems several enter dreams; this one is the most winding.' The Qing critic Zhu Yun in 'On the Nineteen Old Poems' says: 'First it writes the year's-end scene, then the dream's joy, then the waking grief — two reversals, feeling without end.' Shen Deqian in 'Source of Ancient Poetry' says 'the wings of the Morning Wind, softening the Qin Feng, show the grief the more'. Modern readers hail it as the best of the late-Han wanderer-and-wife poems at writing feeling through dream.
《凛凛岁云暮》历来论者甚众。《文选》李善注谓此篇「言岁暮而思良人也」，点明主旨。明代胡应麟《诗薮》称：「《十九首》入梦境者凡数篇，此篇最婉转。」清代朱筠《古诗十九首说》评：「前写岁暮之景，中写梦境之欢，后写醒后之悲，两段反转，情致无穷。」沈德潜《古诗源》谓「晨风之翼，用《秦风》而弥见其哀」，赏其用典之浑融。近人论《古诗十九首》，多以「惊心动魄，可谓几乎一字千金」（钟嵘《诗品》语）评其整体，而于此篇尤赏其以梦写情之妙：梦境的温软与现实的凄冷相映，把相思之情写得缠绵悱恻、哀感顽艳，是汉末游子思妇诗中最善于以梦写情者，也是研究汉末社会心理与文人情感的重要文本。又近人朱自清《古诗十九首释》论此诗，谓其「以梦境写相思，虚实相生，妙绝千古」，以为《十九首》中以梦写情者，此篇最为婉转；又或谓此诗亦可读作游子自叹功名未就、岁暮思归之作，与《明月皎夜光》《东城高且长》同属汉末士人忧生之叹，其情感内涵的多义性，正是《十九首》历久弥新的魅力所在，也是其作为汉诗最高成就的代表性篇目之一。
Prosody
Line by line
凛凛岁云暮，蝼蛄夕鸣悲。
Bitter cold, the year is at its dusk; the mole crickets chirp sadly in the evening.
凛冽啊一年又将尽，蝼蛄在傍晚悲鸣。
Bitterly cold, the year is drawing to its close; the mole-crickets chirp sadly at dusk.
起句以岁暮凄景起兴，定下全诗悲凉基调。「凛凛」叠字写寒气之凛冽逼人，岁暮将尽，天寒地冻；「蝼蛄夕鸣悲」写蝼蛄在傍晚悲鸣——蝼蛄为秋虫，至秋而鸣，其声凄切，故曰「鸣悲」，一「悲」字移情于物，实是诗人心境之写照。两句一写时令，一写物候，寒气与悲声交加，岁暮的凄凉扑面而来。以岁暮之景起兴，既写自然时序之将尽，又暗喻人生、欢聚亦如岁暮将尽，为全诗的孤寒之悲与相思之情定下基调。景悲情亦悲，起笔即见《古诗十九首》「以景起兴」的浑成笔法，平淡之中含蕴深厚。
The opening. Bitter cold, the year is at its dusk; the mole crickets chirp sadly in the evening. The doubled cold and the chirping insect set the winter loneliness. The sadness in the cricket's song is the poet's own. To have described a cold autumn evening would be weather; the bitter year-end and the crickets' sad evening chirp are the weather.
凉风率已厉，游子寒无衣。
The chill wind has turned sharp; the wanderer is cold, with no coat.
凉风已经迅猛凄厉，游子身上寒冷没有冬衣。
The chill wind has suddenly turned fierce; the wanderer is cold, with no winter coat.
此二句承上写岁暮之寒，由景及人。「凉风率已厉」写凉风骤然猛烈——「率」为急遽、忽然之义，「厉」写风势之猛，寒风呼啸，岁暮之寒愈深；「游子寒无衣」由风写到人：游子漂泊他乡，天寒而无冬衣，饥寒交迫——「寒无衣」三字是汉末游子境遇的典型写照，既有写实的社会意义（征役、游宦者众而衣食无着），又暗含「无人为我缝衣」的孤独。上句写天寒，下句写人寒，天人交逼，把游子岁暮的窘迫与孤苦写得入骨。此二句由景入情、由物及人，为下文「独宿」「梦想」的相思之情铺垫现实的基础，正是「以凄景写哀情」的典范。
The turn to the wanderer. The chill wind has turned sharp; the wanderer is cold, with no coat. From the weather to the person: the absent husband, out in the cold without adequate clothes. The three words (cold, no coat) are the traveler's whole winter. To have said my husband had no warm clothes would be a worry; the sharp chill and the coatless wanderer are the worry.
独宿累长夜，梦想见容辉。
Sleeping alone through long, long nights, in a dream I see your shining face.
独自宿眠挨过漫漫长夜，梦中相见你容颜的光辉。
Alone in bed through the long nights, in a dream I see your bright face.
此二句由实入虚，是全诗转入梦境的关键。「独宿累长夜」写独眠难寐、挨过漫漫长夜——「累」字写长夜之堆积绵延，一夜如数年，独宿之煎熬尽在其中，且「独宿」二字点出无伴之孤，承「游子寒无衣」而下，愈见身寒心亦寒；「梦想见容辉」写于梦中得见良人容颜的光辉——「梦」字一转，白日之相思化为梦境之相会，「容辉」二字写良人容貌之光彩，见出思念之深、记忆之新。两句一实一虚：长夜是现实之煎熬，梦见是虚幻之慰藉，由独宿而梦想，过渡自然，情致婉转，为下文铺陈梦中欢会张本，是全诗「现实—梦境—梦醒」三层结构的中枢。
The dream. Sleeping alone through long, long nights, in a dream I see your shining face. The long nights (piled, repeated) are the widow's; the dream is the only meeting. The shining face is the memory's intensity. To have said I dreamed of him would be a dream; the long lonely nights and the dream of his bright face are the dream.
亮无晨风翼，焉能凌风飞。
Surely I have no wings like the zhen bird; how could I fly against the wind to you?
谅必没有晨风鸟的翅膀，怎能凌风高飞相随。
Truly I have no wings like the zhen bird; how could I fly on the wind to you?
此二句化用《诗经·秦风·晨风》之典，写梦醒后欲从良人而不得的悲哀。「亮无晨风翼」之「亮」为揣测之词，意为谅必、诚然，诗人自叹：我谅必没有晨风鸟那样的翅膀；「焉能凌风飞」以反诘作结：又怎能凌风高飞去追随良人？——晨风即鹯鸟，善疾飞，诗人以鸟之能飞反衬人之无翼，把「欲从之而不得」的绝望写得委婉深挚。此二句是全诗情感的高潮：梦中尚可携手同车，梦醒后连追随亦不可能，相形之下，现实愈显残酷，相思愈见绝望。以《诗经》典故写切身之痛，融化无痕，故沈德潜谓「用《秦风》而弥见其哀」，是《古诗十九首》用典浑化的典型。
The waking. Surely I have no wings like the zhen bird, that swift bird of the Book of Songs; how could I fly on the wind to you? The allusion turns the dream into impossibility: even birds can fly, but she cannot follow. To have said I wished I could fly to him would be a wish; the borrowed zhen wings she lacks are the wish.
徙倚怀感伤，垂涕沾双扉。
I wander back and forth, sick at heart; my falling tears wet both door leaves.
徘徊感伤，泪下沾湿了双扉。
I linger, sick with longing; my falling tears wet both leaves of the door.
结句以动作与涕泪收束全诗，写尽梦醒后的无限怅惘。「徙倚怀感伤」写徘徊不定、满怀感伤——「徙倚」为流连徘徊之义，写梦醒后既不能眠、又无处可去，只能在门间反复徘徊的失魂之态；「垂涕沾双扉」写泪水垂落，沾湿了门扉——「双扉」即两扇门，泪竟湿门，可见涕泪之多、悲情之重，也暗写倚门望归之久：或倚门而望，望而不见，泪落沾扉。两句一写行，一写泪，行则徘徊无定，泪则淋漓不止，把相思之深、绝望之痛推到极致，戛然而止，余哀不尽。全诗由岁暮之景入梦中之欢，复由梦醒之悲收束，首尾呼应，缠绵往复，是《十九首》中以情动人的杰作。
The ending. I linger, sick with longing; my falling tears wet both leaves of the door. The pacing by the door and the tears on the wood are the waking grief. The wet door leaves imply she has stood there long. To have said I cried by the door would be a detail; the lingering grief and the tears wetting the two door leaves are the detail.
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Both rise from the year's end to write loneliness; 'Bright Moon' mourns broken friendship, 'Cold, Cold' writes longing — compare the pathos.
《明月皎夜光》与《凛凛岁云暮》同出《古诗十九首》，皆以岁暮起兴写孤寂之悲，而情感指向不同：《明月皎夜光》「明月皎夜光，促织鸣东壁」写秋夜之景，「昔我同门友，高举振六翮」叹同门故交飞黄腾达后弃己不顾，「不念携手好，弃我如遗迹」写世态炎凉、交情断绝之痛，感慨在友情的背叛；《凛凛岁云暮》则以岁暮孤寒写相思，「独宿累长夜，梦想见容辉」写对良人的刻骨思念，感慨在离别的煎熬。一伤交绝、一伤别离，同为岁暮之悲而哀情各异，可对照比较《十九首》中同一母题的不同变奏。
冉冉孤生竹 A Slender Bamboo 古诗十九首（无名氏） · 同出《古诗十九首》，同写相思 Same (Nineteen Old Poems / longing)Both write longing and complaint at delay; 'A Slender Bamboo' writes a woman awaiting marriage, 'Cold, Cold' writes tears after dream — both lingering.
《冉冉孤生竹》与《凛凛岁云暮》同出《古诗十九首》，皆写相思之情，而角度不同：《冉冉孤生竹》「冉冉孤生竹，结根泰山阿」以孤竹自喻，写待嫁女子对婚期迟迟不至的怨思，「伤彼蕙兰花，含英扬光辉」自伤美质空逝，重在写「待」之焦灼；《凛凛岁云暮》则以岁暮孤寒写相思，重在写「梦」之虚实——现实之寒、梦境之暖、梦醒之悲，三层递转，缠绵悱恻。一写待嫁之怨，一写别后之思；一以物起兴、含蓄蕴藉，一以梦写情、婉转曲折。二诗并读，可见《十九首》写相思的多样手法与同一时代的共同情感基调。