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清 Qing · 诗 Poem

岁暮杂感

Miscellaneous Feelings at Year's End

曾国藩

Zeng Guofan

芒鞋镇日踏春还，残腊将更却等闲。
三百六旬同逝水，四千余里说家山。
缁尘已自沾京雒，羌笛何须怨玉关。
为报南来新雁到，故乡消息在云间。

All day in straw sandals, treading back the spring,
The last of the year's cold is almost gone, and I take it lightly.
Three hundred and sixty days flow alike to the water;
Four thousand odd miles — the hills of my home.
Dust of the capital has long since stained my robe;
Why should the Qiang flute complain of the Jade Gate?
Only to say that new geese are coming from the south:
Word of my homeland is out there among the clouds.
Listen

Meaning

A late-winter poem of a man away from home. He has spent the year walking in plain straw sandals, and the turning of the old year passes without他的 taking much note; the year is like water flowing away, and the distance to his family is four thousand miles. The dust of the capital has already coloured his clothes, so the complaint of the border marcher — that the flute must play the Qiang tune and the Jade Gate is an exile's threshold — needs no answer: he has chosen this. Only at the close does a letter arrive, carried by wild geese from the south, to say that news of home still exists. The poem is a restrained yearning, kept in check by a man who believes duty precludes complaint.

芒鞋镇日踏春还，残腊将更却等闲。三百六旬同逝水，四千余里说家山。缁尘已自沾京雒，羌笛何须怨玉关。为报南来新雁到，故乡消息在云间。

Appreciation

[Structure] Two couplets describe the year passing and the distance; a third answers the old border complaint; the last brings the news of home. The line `why should the Qiang flute complain of the Jade Gate?' is the pivot, and it turns the complaint inward. [Imagery] straw sandals, the last cold, water flowing, four thousand miles, capital dust, the Qiang flute, the Jade Gate, wild geese, clouds — each is an ordinary thing, and none is elaborated. [Technique] The poem's main device is the controlled contrast: he is near enough to the capital to be stained by it and four thousand miles from home; the year is short and the journey long; he could complain and does not. [Mood] Depth is produced by restraint — the poet withholds the words that would explain his loneliness, and the ending is deliberately small: not a reunion, only that the news exists.

【白话串讲】 曾国藩写《岁暮杂感》：“芒鞋镇日踏春还，残腊将更却等闲”——“三百六旬同逝水，四千余里说家山”——“缁尘已自沾京雒，羌笛何须怨玉关”——“为报南来新雁到，故乡消息在云间”——他岁暮感怀——故乡消息在云间。 【意象与手法】 “芒鞋镇日踏春还，残腊将更却等闲”以芒鞋残腊写岁暮；“三百六旬同逝水，四千余里说家山”以逝水家山写光阴与乡愁；“缁尘已自沾京雒，羌笛何须怨玉关”以缁尘羌笛写宦游；结以“为报南来新雁到，故乡消息在云间”以新雁写乡音。含蓄深婉、典重工稳。 【情感与主旨】 岁暮感怀思乡之作，写时光流逝、宦游京雒的羁旅之思与对故乡消息的期盼，是曾国藩诗中温厚含蓄的一类。 【名句点睛】 常考“三百六旬同逝水，四千余里说家山”以逝水家山写光阴乡愁；“为报南来新雁到，故乡消息在云间”以新雁写乡音。

Background

Zeng Guofan (1811–1872), courtesy name Bohan, so-called Tisheng, was from Xiangxiang, Hunan: a statesman, general and writer who rose from a low degree to govern the empire, and who after the Taiping rebellion founded the Xiang army and suppressed it. His poetry, like his prose, is notable for plainness and moral seriousness rather than for invention, and he wrote it mostly in the intervals of an extremely active official life, often with the压板 of a discipline problem rather than of a private emotion. This poem belongs to the group of occasional poems written in the capital in the later years, when he was deeply engaged in court and provincial politics and separated from his family by many thousands of miles. It shows the conventional form of his verse — a seven-character regular poem of eight lines, four couplets, careful in diction and quiet in feeling — used to hold back rather than to express.

《岁暮杂感》为清代政治家、文学家曾国藩所作诗。曾国藩（1811—1872），字伯涵，号涤生，湖南湘乡人，清代政治家、军事家、文学家。此诗写感怀思乡，为岁暮杂感之作。诗中「芒鞋镇日踏春还，残腊将更却等闲」写芒鞋镇日踏春还，残腊将更却等闲；「三百六旬同逝水，四千余里说家山」写三百六旬同逝水，四千余里说家山；「缁尘已自沾京雒，羌笛何须怨玉关」写缁尘已自沾京雒，羌笛何须怨玉关；「为报南来新雁到，故乡消息在云间」写为报南来新雁到，故乡消息在云间。曾国藩此诗以感怀思乡、故乡消息在云间写其思乡之情，含蓄深婉，是曾国藩诗中的名篇。此篇《岁暮杂感》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。此篇《岁暮杂感》在历代选本中多被收录，其艺术价值与流传之广，正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事，遂使此作历千载而犹有生气，为后人所称赏不绝。

Art

The poem's power rests on what it leaves out. Every line is available for complaint — the distance, the wasted year, the dust of the capital, the old border grievance — and Zeng declines to take any of them up; the third couplet even refers the standard complaint about the border to its own question mark rather than answering it. Its contraries are set side by side instead: `all day' against `the last of the year', `three hundred and sixty days' against `four thousand odd miles', the near capital against the distant home. The couplet `why should the Qiang flute complain of the Jade Gate?' is the mechanism of the whole poem: by asking rather than replying, the poet converts the historical grievance of the frontier into a private arrangement he has accepted, and the modality of the complaint thus settles into his own case. The closing couplet refuses to promise anything; the geese bring news, not a return. The result is diction of unusual plainness — sandals, dust, flute, geese — carrying an feeling that is never named.

此诗艺术上以「含蓄深婉、以景写情」见长。全诗共四联八句，由芒鞋镇日踏春还、三百六旬同逝水而缁尘已自沾京雒、为报南来新雁到。首联「芒鞋镇日踏春还，残腊将更却等闲」写芒鞋镇日踏春还：芒鞋镇日踏春还，残腊将更却等闲；颔联「三百六旬同逝水，四千余里说家山」写三百六旬同逝水：三百六旬同逝水，四千余里说家山；颈联「缁尘已自沾京雒，羌笛何须怨玉关」写缁尘已自沾京雒：缁尘已自沾京雒，羌笛何须怨玉关；尾联「为报南来新雁到，故乡消息在云间」写故乡消息在云间：为报南来新雁到，故乡消息在云间。全诗以景写情，由芒鞋镇日踏春还而故乡消息在云间，含蓄深婉，是曾国藩诗中的名篇。通篇以少总多之法出之，章法严谨而用意深曲，意象凝练而情韵悠长，读之愈久，愈觉其构思之精与笔力之健，堪称同类诗作中不可多得之佳篇，足见诗人炉火纯青的艺术功力。

Allusions

Two old stories give the poem its depth. The Qiang flute: from the Han frontier tune `A reminder of willow', in which a flute playing by the Pass-Yu and defeated and the passer-by weeps, the convention became that of `grieving at the Jade Gate' — to complain of the Jade Gate is to complain of being sent far from the capital, and Zeng's question implies that he has already accepted his posting. The wild goose: from the Han legend of the messenger who tied a letter to the leg of a goose and so carried word from the frontier to his family, so that `a letter from a goose' means news from home; the `new geese from the south' here are the letter itself, arriving just as the year closes. The flowing water of the third couplet is the familiar image of a year spent, as in `the river goes on and on'. Allusions are usual in this kind of poem, but here they are subdued — they are asked rather than quoted, and their association with old grief is allowed to work under the surface.

诗中「芒鞋镇日踏春还残腊将更却等闲」「三百六旬同逝水四千余里说家山」「缁尘已自沾京雒羌笛何须怨玉关」「为报南来新雁到故乡消息在云间」等语，皆含典故故实。「芒鞋镇日踏春还残腊将更却等闲」写芒鞋镇日踏春还残腊将更却等闲；「三百六旬同逝水四千余里说家山」写三百六旬同逝水四千余里说家山；「缁尘已自沾京雒羌笛何须怨玉关」用羌笛怨杨柳之典（玉关写玉门关），写缁尘已自沾京雒羌笛何须怨玉关；「为报南来新雁到故乡消息在云间」用雁书之典（雁写鸿雁传书），写为报南来新雁到故乡消息在云间。诗人以羌笛、雁书等典入诗，不着痕迹，而把感怀思乡之情写得真切可感，是善于熔铸典故的体现。此等用典之法，熔铸古今而不着痕迹，既不炫博以示学，亦不拘泥于旧解，正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味，方能领会其言外之旨与味外之味。

Commentary

The poem is a representative of Zeng Guofan's verse, which is studied less for its beauty than for its temper: it shows a man of affairs keeping a private feeling under the discipline of his public self. Later readers have particularly admired the couplet `three hundred and sixty days flow alike to the water; four thousand odd miles — the hills of my home', in which the measurement of time is matched to the measurement of distance with no smaller word than `hills of my home'; and the close, which is valued for resisting the temptation to be moving. The poem has remained a school text through the late Qing and the Republic, partly for the plainness of its diction, which suited the明治 of a new vernacular poetry, and partly for the feeling it betrays against its will. For a reader today, its interest is that it is a poem by a man who would not have described himself as a poet.

这首《岁暮杂感》，是曾国藩写感怀思乡之作，写芒鞋镇日踏春还、三百六旬同逝水、羌笛何须怨玉关、故乡消息在云间之情，含蓄深婉。首联「芒鞋镇日踏春还，残腊将更却等闲」——芒鞋镇日踏春还，残腊将更却等闲。写芒鞋镇日踏春还：芒鞋镇日踏春还、残腊将更却等闲——芒鞋踏春还、残腊却等闲；颔联「三百六旬同逝水，四千余里说家山」——三百六旬同逝水，四千余里说家山。写三百六旬同逝水：三百六旬同逝水、四千余里说家山——三旬同逝水、余里说家山；颈联「缁尘已自沾京雒，羌笛何须怨玉关」——缁尘已自沾京雒（用羌笛怨杨柳之典），羌笛何须怨玉关。写缁尘已自沾京雒：缁尘已自沾京雒、羌笛何须怨玉关——缁尘沾京雒、何须怨玉关；尾联「为报南来新雁到，故乡消息在云间」——为报南来新雁到（用雁书之典），故乡消息在云间。写故乡消息在云间：为报南来新雁到、故乡消息在云间——新雁到、消息在云间。这「为报南来新雁到，故乡消息在云间」，是全诗之结：以故乡消息在云间写其思乡。全诗含蓄深婉，以景写情，正是曾国藩诗中的名篇。

Prosody

Form Poem (seven-character regulated verse)诗（七言律诗）
Rhyme An eight-line poem in the seven-character regulated form, four couplets. The rhymes are all on the open low vowels of the 删/寒 group — `lightly', `hills', `Gate', `clouds' — that is, on the same wide nasal-less sound that closes almost every line. The unrhymed lines fall with the same plainness, so the effect is of a steady, unhurried versification, in keeping with the poem's avoidance of emphasis.此诗为七言律诗，共八句，四联。押平声韵：「闲」「山」「关」「间」押寒删部韵。诗体依律诗而定，首联颔联颈联尾联各两句，句式整齐，音节随情起伏，正与写感怀思乡的含蓄深婉相称，也见其以律诗写思乡的自然。
Tone pattern The cadence runs bright and even in the first couplet, slows into the long sigh of the second, turns with a graceful ambiguity in the third, and stretches out over four syllables at the close. The regulated form's pause after the fourth character is audible throughout: the voice breaks, considers, and resumes, which is the prosodic equivalent of the poem's hesitations.句式上，首联「芒鞋镇日踏春还，残腊将更却等闲」写芒鞋镇日踏春还，音节明快；颔联「三百六旬同逝水，四千余里说家山」写三百六旬同逝水，音节低回；颈联「缁尘已自沾京雒，羌笛何须怨玉关」写缁尘已自沾京雒，音节婉转；尾联「为报南来新雁到，故乡消息在云间」写故乡消息在云间，音节绵长。全诗音节随情起伏，由明快而低回、由婉转而绵长，正合律诗「整饬」之妙，读来如感怀思乡、故乡消息在云间之音，含蓄而动人。
Reading note As a regulated poem, the piece observes the rules that govern the form: parallel couplets, a fixed rhyme, and tonal alternation — and it uses them for the effect of composure rather than of brilliance. The parallelism of the second and third couplets is exact in grammar and in part of its sound, and each couplets sets two magnitudes against each other. The rhyme is unvaried, and that constancy is what gives the poem its tone of a man who has decided not to be moved. The final line, stretched out over the widest vowel in the scheme, leaves the poem open on the word `clouds', and thus on something unattainable. In this the poem is typical of Zeng's verse: the rules are fully obeyed, and they serve to hold feeling down.此诗为七言律诗，是曾国藩写感怀思乡之作，也是其诗中的名篇。全诗的艺术特色在于「含蓄深婉、以景写情」：「芒鞋镇日踏春还，残腊将更却等闲」写芒鞋镇日踏春还、「三百六旬同逝水，四千余里说家山」写三百六旬同逝水、「缁尘已自沾京雒，羌笛何须怨玉关」写缁尘已自沾京雒、「为报南来新雁到，故乡消息在云间」写故乡消息在云间。全诗含蓄深婉，以景写情。尤为精妙者，是「缁尘已自沾京雒，羌笛何须怨玉关」用羌笛之典；而「为报南来新雁到，故乡消息在云间」用雁书之典，正是曾国藩诗「含蓄深婉」的典范，为历代选本所常收。

Line by line

芒鞋镇日踏春还，残腊将更却等闲。

All day in straw sandals, treading back the spring; the last of the year's cold is almost gone, and I take it lightly.

芒鞋镇日踏春还，残腊将更却等闲。

Straw sandals all day treading the spring and returning; the last month of the year about to turn, yet all treated lightly.

首联写芒鞋镇日踏春还，起笔即见其行。「芒鞋镇日踏春还」写芒鞋镇日踏春还，「芒鞋镇日」写芒鞋镇日、「踏春还」写踏春还；「残腊将更却等闲」写残腊将更却等闲，「残腊将更」写残腊将更、「却等闲」写却等闲。两句一写芒鞋镇日踏春还、一写残腊将更却等闲，以芒鞋镇日踏春还写芒鞋踏春、以残腊将更却等闲写残腊等闲，写尽芒鞋镇日踏春还、残腊将更却等闲之情。以行起兴，含蓄而深婉，是「以行起兴」的妙笔。

The opening writes straw sandals treading the spring all day, the walk visible from the first stroke. Straw sandals all day treading the spring and returning writes the straw sandals the whole day, the spring-treading return. The last month of the year about to turn, yet all treated lightly writes the last month about to change, taken as ordinary. Two lines: one of the spring-treading return in straw sandals, one of the last month treated lightly. Writing the sandals treading the spring, writing the year's end taken lightly, exhausting the straw-sandaled spring walk and the lightness of the turning year. Rising on the walk, restrained and deeply tender, the fine brush of raising feeling through walking.

三百六旬同逝水，四千余里说家山。

Three hundred and sixty days flow alike to the water; four thousand odd miles — the hills of my home.

三百六旬同逝水，四千余里说家山。

Three hundred and sixty days flow like the passing water; more than four thousand li away, I speak of home.

此二句写三百六旬同逝水，是全诗写岁月之感的关键。「三百六旬同逝水」写三百六旬同逝水，「三百六旬」写三百六旬、「同逝水」写同逝水；「四千余里说家山」写四千余里说家山，「四千余里」写四千余里、「说家山」写说家山。两句一写三百六旬同逝水、一写四千余里说家山，以三百六旬同逝水写三旬逝水、以四千余里说家山写余里家山，写尽三百六旬同逝水、四千余里说家山之情。以岁写感，含蓄而深婉，是「以岁写感」的点睛之笔。

The two lines write three hundred and sixty days like the passing water, the key to the sense of the years. Three hundred and sixty days flow like the passing water writes the three hundred and sixty days, all like the flowing stream. More than four thousand li away, I speak of home writes the four thousand li, speaking of the home hills. Two lines: one of the days like the stream, one of the miles and the home. Writing the days as the passing water, writing the miles and the home hills, exhausting the flowing days and the distant home. Writing feeling through the year, restrained and deeply tender, the pointed brush of writing feeling through the year.

缁尘已自沾京雒，羌笛何须怨玉关。

Dust of the capital has long since stained my robe; why should the Qiang flute complain of the Jade Gate?

缁尘已自沾京雒，羌笛何须怨玉关。

The gray dust has already stained me in the capital; why should the Qiang flute complain of the Jade Pass?

此二句写缁尘已自沾京雒，是全诗以典写情的关键。「缁尘已自沾京雒」写缁尘已自沾京雒，「缁尘已自」写缁尘已自、「沾京雒」写沾京雒；「羌笛何须怨玉关」用羌笛怨杨柳之典写羌笛何须怨玉关，「羌笛何须」写羌笛何须、「怨玉关」写怨玉关。两句一写缁尘已自沾京雒、一写羌笛何须怨玉关，以缁尘已自沾京雒写缁尘沾京、以羌笛何须怨玉关写何须怨关，写尽缁尘已自沾京雒、羌笛何须怨玉关之情。以典写情，含蓄而深婉，是「以典写情」的点睛之笔。

The two lines write the gray dust already staining the capital, the key to writing feeling through allusion. The gray dust has already stained me in the capital writes the gray dust already clinging in the capital. Why should the Qiang flute complain of the Jade Pass? uses the allusion to the Qiang flute's grievance over the willows, writes why the flute must complain of the pass. Two lines: one of the dust staining the capital, one of the flute's needless complaint. Writing the gray dust's clinging to the capital, writing the needless grievance at the pass, exhausting the dust on the traveler and the unneeded complaint. Writing feeling through allusion, restrained and deeply tender, the pointed brush of writing feeling through allusion.

为报南来新雁到，故乡消息在云间。

Only to say that new geese are coming from the south: word of my homeland is out there among the clouds.

为报南来新雁到，故乡消息在云间。

Word comes that new wild geese have arrived from the south; news of the homeland is among the clouds.

尾联写故乡消息在云间，是全诗立意的落点。「为报南来新雁到」用雁书之典写为报南来新雁到，「为报南来」写为报南来、「新雁到」写新雁到；「故乡消息在云间」写故乡消息在云间，「故乡消息」写故乡消息、「在云间」写在云间。两句一写为报南来新雁到、一写故乡消息在云间，以为报南来新雁到写新雁到、以故乡消息在云间写消息云间，写尽为报南来新雁到、故乡消息在云间之情。以雁写情，含蓄而深婉，是全诗最动人处，也是「以雁写情」的点睛之笔。

The closing couplet writes news of the homeland among the clouds, the landing point of the poem's intent. Word comes that new wild geese have arrived from the south uses the allusion to the letter-bearing goose, writes the report of new geese arriving. News of the homeland is among the clouds writes the news of home lying in the clouds. Two lines: one of the arrival of the new geese, one of the news among the clouds. Writing the new geese' arrival, writing the news in the clouds, exhausting the arriving geese and the cloud-borne news. Writing feeling through the goose, restrained and deeply tender, the most moving passage of the poem, and the pointed brush of writing feeling through the goose.

Study

Word focus

芒鞋 Straw sandals, the plainest possible footwear and the mark of a poor or simple journey; here the poet's constant companion through the whole year, and a sign that his wanderings are voluntary and mean. 「芒鞋」写芒鞋镇日踏春还，是写芒鞋之态的关键。「芒鞋镇日踏春还」着一「芒鞋」，写芒鞋——着一「芒鞋」，写芒鞋镇日踏春还，见其鞋之芒。两字写尽芒鞋之态，是「以词写鞋」的妙笔。「芒鞋」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
逝水 Water flowing away — the year's days, all of them alike and none recoverable; the image is at once the wasting of time and the impossibility of coming back. 「逝水」写三百六旬同逝水，是写逝水之态的关键。「三百六旬同逝水」着一「逝水」，写逝水——着一「逝水」，写三百六旬同逝水，见其岁之逝。两字写尽逝水之态，是「以词写逝」的点睛之词。「逝水」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
缁尘 Black dust, the grime accumulated in the streets of the capital; the word has already stained the poet's clothes, so that he is recognised wherever he goes as a man of the capital — and so far from home. 「缁尘」写缁尘已自沾京雒，是写缁尘之态的关键。「缁尘已自沾京雒」着一「缁尘」，写缁尘——着一「缁尘」，写缁尘已自沾京雒，见其尘之缁。两字写尽缁尘之态，是「以词写尘」的点睛之词。「缁尘」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。
云间 Among the clouds, that is, high and far out of reach; the place where the news of home is, which makes the letter a comfort and the distance unbridgeable at one and the same time. 「云间」写故乡消息在云间，是写云间之态的关键。「故乡消息在云间」着一「云间」，写云间——着一「云间」，写故乡消息在云间，见其乡之远。两字写尽云间之态，是「以词写远」的点睛之词。「云间」一字之用而全篇生色，与诗中情韵相为表里，正见诗人炼字之精与匠心之独运。读者于此等处若细细体会，自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

水调歌头·明月几时有 Water Melody: When Will the Moon Be Bright? 苏轼 · 同写感怀思乡、旷达豪迈，一写我欲乘风归去、一写三百六旬同逝水四千余里说家山，皆于感怀之中见思乡 Both write of feeling the passage of time and of longing for home, one by the wish to ride the wind and fly back, the other by the flow of water and the coming of the geese; each finds the homesickness within a larger, more calmly accepted view of things.

Su Shi's `Water Melody' asks `I would ride the wind and go back, but I am afraid the jade pavilion and crystal palace would be too high and too cold' — the same longing for home, worked out in a long tune and resolved by a careless acceptance: `men have sorrow, the moon has waning; this cannot be changed forever'. Zeng Guofan's present poem denies itself the flight and the consolation: the year flows like water, the home is four thousand miles off, and the only thing that arrives is news. One is the aloofness of a Song scholar who has made his peace with change; the other is the heavier and more reserved feeling of a statesman who has accepted his posting. Read side by side they show two ways of writing `the year draws to its close and I am away from home'.

苏轼《水调歌头·明月几时有》「我欲乘风归去，又恐琼楼玉宇，高处不胜寒」，写感怀思乡、旷达豪迈，是宋词长调的名篇；曾国藩《岁暮杂感》则以「三百六旬同逝水，四千余里说家山」「为报南来新雁到，故乡消息在云间」写三旬逝水、消息在云间。两诗同写感怀思乡、旷达豪迈：一写我欲乘风归去、以乘风写思乡，一写三百六旬同逝水四千余里说家山、以逝水写思乡；一为苏轼之超然、一为曾国藩之深沉，并读正可见诗写「感怀思乡」的两种笔法，皆于感怀之中见思乡。

 八声甘州·对潇潇暮雨洒江天 Eight Beats of Ganshan: Dusk Rain over the River 柳永 · 同写登临思乡、凝望天涯，一写误几回天际识归舟、一写故乡消息在云间，皆于登临之中见思乡 Both write of looking out from a height and thinking of home, one of a woman at her window mistaking homing boats, the other of a letter in the clouds; each fixes the homesickness in a single image of gaze.

Liu Yong's `Eight Beats of Ganshan' turns the登高 of a travelling official into a woman's vigil: `I fancy her on the upstairs floor, again and again mistaking a sail at the far edge of sky for a homing boat' — a thousand looks that are all the same look. Zeng Guofan's close is the counterpart seen from his side: the watcher is a man, the message comes from `among the clouds'. The two poems meet on the same plain —登临 and homesickness — and diverge in outcome: Liu ends in an unrealisable gaze, Zeng in an unarrivable letter. One is the clarity of the forbidden style, the other the heavier manner of the Qing statesman, and together they show the two standard instruments for the same feeling.

柳永《八声甘州·对潇潇暮雨洒江天》「想佳人妆楼颙望，误几回、天际识归舟」，写登临思乡、凝望天涯，是宋词写羁旅的名篇；曾国藩《岁暮杂感》则以「故乡消息在云间」「为报南来新雁到」写消息在云间、南来新雁到。两诗同写登临思乡、凝望天涯：一写误几回天际识归舟、以凝望写思乡，一写故乡消息在云间、以云间写思乡；一为柳永之清丽、一为曾国藩之深沉，并读正可见诗写「登临思乡」的两种笔法，皆于登临之中见思乡。