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宋 Song · 诗 Poem

陈与义·登岳阳楼

Climbing Yueyang Tower

陈与义

Chen Yuyi

爱国Patriotic 怀古History 感怀Reflective

登岳阳楼洞庭之东江水西，帘旌不动夕阳迟。
登临吴蜀横分地，徙倚湖山欲暮时。
万里来游还望远，三年多难更凭危。
白头吊古风霜里，老木苍波无限悲。

East of Dongting, west of the River Yangtze,
The curtain hangs still, the setting sun delays.
I climb a place where Wu and Shu once divided,
Pacing by lakes and hills as evening fades.
From ten thousand li I come to gaze afar,
Three years of many woes, I mount this height.
White-haired, in wind and frost I mourn the past,
Aged trees and gray waves — boundless grief at last.

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Meaning

The poet climbs Yueyang Tower, seeing the still curtain and slow sunset. He recalls this land where Wu and Shu once contended, wanders amidst lake and mountain as dusk falls. After years of wandering and national calamities, he gazes into the distance; his white hair in wind and frost, old trees and dark waves stir infinite sorrow.

洞庭湖在东、长江在西，楼前酒旗不动，夕阳缓缓下沉。我登上这吴蜀当年分兵对峙之地，在湖光山色中徘徊，已是日暮时分。万里投老而来游赏，更向远处眺望；三年离乱多难，又独自登高临危。白头人在风霜中凭吊古迹，老树苍波，惹起无限悲怀。

Appreciation

This poem was written in 1128 when Chen Yuyi fled south after the fall of the Northern Song. Climbing Yueyang Tower, he blends personal displacement with national ruin. The first couplet depicts stillness (curtain unmoving, sun slow); the second points to the historical site and time; the third contrasts 'ten thousand li' (space) with 'three years' (time); the last closes with white hair and aged trees in frost, evoking boundless grief.

【白话串讲】陈与义登岳阳楼：“洞庭之东江水西，帘旌不动夕阳迟”。“万里来游还望远，三年多难更凭危”——他经历过靖康之难，登楼望远，“老木苍波无限悲”。【意象与手法】此诗艺术在「以景藏情、沉郁顿挫」：首联「帘旌不动夕阳迟」以「不动」「迟」写静中藏痛；颔联「吴蜀横分地」以历史地名与「欲暮」双关天时国运；颈联「万里」对「三年」，将个人飘零与国步多艰对举；尾联以「老木苍波」的衰景结情，直逼杜陵。【情感与主旨】陈与义此诗作于宋高宗建炎二年（1128）。是年金兵南侵，汴京已陷、中原大乱，诗人自陈留南奔，流寓湖南，登岳阳楼而作。「三年多难」指靖康元年（1126）至今约三年间国破家亡、转徙避乱的惨痛经历。此诗为南渡后诗风由清婉转沉郁的标志，深得杜甫《登岳阳楼》之骨，是爱国感怀的代表作。【名句点睛】中高考考点：一、「帘旌不动夕阳迟」中「不动」「迟」的炼字与静中藏悲；二、「吴蜀横分地」的用典及其暗寓的时局；三、「万里来游还望远，三年多难更凭危」对时空对举的沉痛。

Background

Written in 1128 (Jianyan 2) after the Jin invasion and the fall of Kaifeng in 1127. Chen fled from Chenliu to Hunan. 'Three years of many woes' refers to the ruin of the state and his own wanderings since 1126. 'Wu and Shu once divided' alludes to the Three Kingdoms, hinting at the current division of China under the Song.

陈与义（1090—1139），字去非，号简斋，两宋之际著名诗人，江西诗派后期重要作家。靖康元年（1126）金兵南侵，汴京沦陷，北宋灭亡；建炎二年（1128），金兵继续南犯，陈与义自陈留避难南奔，流寓湖南，登岳阳楼而作此诗。时诗人年近四十，历经国破家亡、转徙流离，「三年多难」即指靖康以来约三年间的乱离岁月。岳阳楼在洞庭湖畔，自古为登临胜迹，杜甫晚年亦曾登临并作《登岳阳楼》，「吴楚东南坼，乾坤日夜浮」的壮阔与「亲朋无一字，老病有孤舟」的悲慨皆为陈与义所本。此诗为南渡后陈与义诗风由清婉转为沉郁的转折之作，深得杜甫之骨，与其《临江仙·高咏楚词酬午日》等同为南渡爱国诗的代表，故后人称其「诗宗老杜，而能自具面目」。陈与义此诗之于岳阳楼，犹杜甫《登岳阳楼》之于洞庭，皆以「诗史」之笔写登临之慨。岳阳楼在宋代屡经修缮，为湖湘形胜之首，骚人墨客登临题咏者不绝，然唯有陈与义此作与杜诗并称「岳阳楼双璧」——因其非徒写楼观之胜，而是将个人身世与国家命运熔铸于楼头夕照之中。此诗作于南渡之初，中原沦陷、朝廷播迁，诗人登楼北望，故园万里、旧国三年，其沉痛正与陆游「遗民泪尽胡尘里」异代同悲，是两宋之际「以诗存史」的典范之作。

Art

The poem emulates Du Fu's somber and forceful style. The first couplet conveys inner pain through static imagery ('still,' 'delays'). The second makes the landscape feel vast and mournful. The third contrasts space and time. The last uses scene to express feeling, with 'white head,' 'old trees,' 'gray waves' together creating endless pathos, directly echoing Du Fu.

此诗艺术在「以景藏情、沉郁顿挫」。首联「洞庭之东江水西，帘旌不动夕阳迟」先写登楼所见：洞庭在东、长江在西，楼头酒旗静垂不动，夕阳缓缓西沉。「不动」「迟」二字极静极缓，暗透诗人凝滞悲凉的心境，静中藏痛。颔联「登临吴蜀横分地，徙倚湖山欲暮时」点出登临之地与徘徊之时：吴蜀横分是历史陈迹，欲暮是天色将晚，历史之苍茫与眼前之苍茫叠合，「欲暮」双关天时与国运。颈联「万里来游还望远，三年多难更凭危」是全诗情感的高潮：以「万里」写空间之远，以「三年」写时间之久，个人飘零与国步多艰对举，一联包举一生乱离，沉痛逼人。尾联「白头吊古风霜里，老木苍波无限悲」以景结情：白头人立于风霜之中凭吊古迹，眼前老木苍波，悲慨无穷。全诗时空交织、情景交融，气象雄浑而情调沉郁，直逼杜陵，是宋代学杜诗的巅峰之作。此诗炼字亦极精：首联「帘旌不动夕阳迟」之「不动」「迟」，以「静」写「愁」，凝滞之态可掬；颔联「徙倚湖山欲暮时」之「徙倚」，写徘徊不忍去之态，比「倚楼」「凭栏」更见踌躇；颈联「还望远」「更凭危」之「还」「更」，一层进一层，写登高望远之不足、凭危临险之复来，情感步步加深；尾联「无限悲」直揭题旨，而前此皆以景藏之，至此如水到渠成，正是「顿挫」之法的完整演示，可为学诗者取法。

Allusions

'Wu and Shu once divided' refers to the Three Kingdoms period when Wu held the east and Shu the west, with Yueyang a strategic point. It implies the current division of the Song, with the north lost. 'Mount this height' (凭危) comes from the tradition of climbing high, also hinting at the perilous times. The poem's use of allusion is sparing but powerful.

「吴蜀横分地」用三国典故：赤壁之战后，吴据江东、蜀据巴蜀，鼎足三分，岳阳地处荆楚要冲，正是当年吴蜀交界、兵家必争之地。诗人登临此地说「横分」，既写地理形势，更暗喻当前宋室偏安江南、北方沦陷的割裂时局，怀古与伤今一体两面。「凭危」指登高临险（危即高），语本「登高必赋」的传统，兼写时局之危殆。「吊古」承杜甫《登岳阳楼》「昔闻洞庭水」的登临凭吊传统。全诗用典不多，而「吴蜀横分」一语已足将眼前楼台系于千载兴亡与当下乱离，正体现江西诗派「点铁成金、夺胎换骨」以故实写时事的家法，陈与义学杜而不袭杜，其高明正在于此。此外，「吊古」二字亦有深意：登楼吊古，所吊者何？岂独三国吴蜀之陈迹，实亦北宋之沦亡、靖康之奇祸——「吊古」即是「伤今」，古之兴亡与今之乱离在此叠合；「风霜」则双关自然之寒与乱世之酷，白头人立于风霜之中，其境其情，不言可知。全诗用典虽仅「吴蜀横分」一处，而「欲暮」「凭危」「吊古」「风霜」诸词皆暗含时局之喻，正是江西诗派「无一字无来处」而「用典如己出」的体现。

Commentary

Liu Kezhuang (Song dynasty) said Chen's post-1127 poems became more powerful and acquired Du Fu's manner. Modern scholar Miao Yue praised his work as 'somber and forceful, directly catching up with Du Fu.' Tang Guizhang remarked that the couplet 'ten thousand li ... three years' encompasses a life of turmoil. Qian Zhongshu noted Chen's ability to learn from Du Fu while maintaining his own identity.

宋人刘克庄《后村诗话》谓陈与义「建炎以后，避地湖峤，行路万里，诗益浑雄，得老杜句法」；方回《瀛奎律髓》亦推陈与义为江西派「三宗」之一（与黄庭坚、陈师道并列），谓其南渡后诗「流动明快而沉郁顿挫」。近人缪钺《灵谿词说》云：「简斋南渡诸作，沉郁顿挫，直追少陵。」钱钟书《宋诗选注》称其「学杜而能自具面目，伤时念乱，情文相生」。此诗与杜甫《登岳阳楼》同题同慨，一唐一宋、一祖一孙，恰可对读：杜诗写老病孤舟之悲而气象浑涵，陈诗写乱离凭危之痛而情辞沉郁，二者并观，可见「学杜」传统的千载流衍。今人选入中学语文教材，是理解两宋之际爱国诗与学杜传统的重要篇目。此诗在后世评价极高，方回《瀛奎律髓》列陈与义为江西派「三宗」之一，即以此类「学杜得髓」之作为据；近人论宋诗，亦多以「简斋南渡，诗风一变，沉郁顿挫，直逼少陵」许之。就影响而言，此诗与岳飞《满江红》、文天祥《过零丁洋》并为南宋爱国诗的先声，其「万里三年」一联，更被推为宋人七律写乱离之最；今人读此诗，当于楼头夕照、老木苍波之间，体会一位流亡诗人沉郁千载的家国之痛。

Prosody

Form Seven-character regulated verse七言律诗

Rhyme Pingshui rhyme, upper level 四zhi (西,迟,时,危,悲)平水韵·上平四支（西、迟、时、危、悲），首句入韵

Tone pattern First line enters rhyme, level tone with oblique ending; middle two couplets parallel平起首句入韵，中间两联对仗（颔联、颈联）

Reading note Emulates Du Fu's somber and forceful style, suitable for lamenting times and calamities此诗为七言律诗，押平水韵上平四支韵，「西、迟、时、危、悲」一韵到底，韵脚（i）悠长低回，正与诗中「夕阳迟」「无限悲」的沉郁情调相合。格律上首句「洞庭之东江水西」平起入韵（借「西」字入韵，属「孤雁出群」之借韵法，为宋诗常见），中二联对仗精严：颔联「登临」对「徙倚」、「吴蜀」对「湖山」、「横分地」对「欲暮时」，词性结构工稳；颈联「万里」对「三年」、「来游」对「多难」、「还望远」对「更凭危」，时空数字对举，尤为警策。七律体制严整，最宜沉郁顿挫的抒怀，陈与义此作严守格律而气格沉雄：首联写景平起，颔联怀古拓展，颈联陡转抒情，尾联以景结情，起承转合井然，正是七律「前四句写景、后四句抒情」的经典结构。全诗对仗精严而不板滞，用典融化而不隔，声情与辞情高度统一，是宋代七律学杜的巅峰之作，方回《瀛奎律髓》将其列为「简斋学杜」的代表，可见其格律与情感之兼美。

Line by line

洞庭之东江水西，帘旌不动夕阳迟。

East of Dongting, west of the river; the curtain banners stir not, the setting sun lags slow.

洞庭湖在东、长江在西，楼前酒旗不动，夕阳缓缓下沉。

East of Dongting Lake and west of the Yangtze, the tavern banners before the tower hang still; the setting sun slowly sinks.

首联写登楼所见之景，以静写悲，是全诗基调的定音。「洞庭之东江水西」点出岳阳楼的地理形势，洞庭在东、长江在西，楼居其间，气象开阔；「帘旌不动夕阳迟」写楼头酒旗静垂不动、夕阳缓缓西沉，「不动」「迟」二字极静极缓——旗静而人心凝滞，日迟而时光难挽，静中藏痛。此联写景不见人，而诗人登楼远眺、心事重重的身影已在其中，是「以景藏情」的典范起笔，为全诗的沉郁定了调。

The first couplet writes the scene from the tower, writing grief through stillness, the tuning of the poem's tone. East of Dongting, west of the river marks the geography of Yueyang Tower, Dongting east, the Yangtze west, the tower between, the atmosphere broad; the curtain banners stir not, the setting sun lags slow writes the tavern banner hanging still, the sun slowly sinking, the still and the lag extremely still and slow — the banner still and the heart frozen, the sun lagging and time hard to recall, the pain hidden in the stillness. The couplet writes the scene without the man, and yet the poet climbing the tower, gazing far, his heart heavy, is within, the model opening of hiding feeling in scene, fixing the poem's somber tone.

登临吴蜀横分地，徙倚湖山欲暮时。

I climb the land where Wu and Shu once divided; I linger by lake and hill at the hour of dusk.

登上这吴蜀当年分兵对峙之地，在湖光山色中徘徊，已是日暮时分。

I climb this place where Wu and Shu once divided their forces, lingering by lake and hill as dusk gathers.

颔联点出登临之地与徘徊之时，历史与眼前叠合。「吴蜀横分地」以三国赤壁后吴蜀分据之典写岳阳的战略地位，亦暗喻当前宋室偏安、中原割裂之局，怀古即伤今；「徙倚湖山欲暮时」写徘徊湖山、日暮不归，「徙倚」写徘徊迟疑之态，「欲暮」双关天时将晚与国运日蹙。两句一历史一眼前、一阔大一天晚，将个人的登临置于千载兴亡与眼前乱离的交汇点上，苍茫之气扑面而来。

The second couplet marks the place of the climb and the hour of the lingering, history overlaid on the present. The land where Wu and Shu once divided uses the Three Kingdoms story of Wu and Shu dividing the realm after the Red Cliffs for Yueyang's strategic position, and secretly figures the present Southern Song's survival in the south and the torn central plain, mourning the past as grieving the present; I linger by lake and hill at the hour of dusk writes the lingering by lake and hill, returning not at dusk, the lingering for the hesitant pause, the hour of dusk double-meaning the day's late and the state's decline. Two lines, one history one present, one vast one dusk, placing the personal climb at the crossing of a thousand years of rise and fall and the present chaos, the vast air beating the face.

万里来游还望远，三年多难更凭危。

Ten thousand li I come to wander, and gaze farther; three years of hardship, again I lean on the height.

万里投老而来游赏，更向远处眺望；三年离乱多难，又独自登高临危。

I have come ten thousand li to wander and gaze afar; three years of calamities, and once more I climb the perilous height.

颈联是全诗情感的高潮，以时空对举写尽乱离。「万里来游还望远」以「万里」写空间之远——自中原南奔至此，万里流徙，登高望远，望的是故园与中原；「三年多难更凭危」以「三年」写时间之久——靖康以来国破家亡、转徙避乱，三年之间备尝艰辛，今又登楼临危。「万里」对「三年」，一空间一时间，个人飘零与国步多艰对举，一联包举一生乱离，沉痛逼人，是此诗最著名的对句，也是南渡诗人「以诗存史」的绝唱。

The third couplet is the climax of the poem's feeling, writing the chaos through the space-and-time contrast. Ten thousand li I come to wander, and gaze farther uses the ten thousand li for the distance — fleeing south from the central plain, ten thousand li of drifting, the climb and the gaze fixed on the old home and the lost land; three years of hardship, again I lean on the height uses the three years for the long time — since the Jingkang fall, the country broken, the family lost, the drifting from chaos, three years of tasting the hardship, and now again the tower and the height. The ten thousand li against the three years, one space one time, the personal drifting set against the state's difficulty, one couplet containing a lifetime of chaos, the grief pressing, the poem's most famous couplet, and the southern-exile poets' lay of preserving history in verse.

白头吊古风霜里，老木苍波无限悲。

White-haired, I mourn the past in frost and snow; old trees, gray waves, a boundless grief.

白头人在风霜中凭吊古迹，老树苍波，惹起无限悲怀。

A white-haired man mourning the past in the frost; old trees and gray waves stir a boundless grief.

尾联以景结情，直逼杜陵，是全诗情感的归宿。「白头吊古风霜里」写诗人白头立于风霜之中凭吊古迹，「白头」写老之将至，「风霜」双关自然之寒与乱世之酷，人与境俱老俱寒；「老木苍波无限悲」以景收束——老树枯槁、苍波浩渺，皆衰败苍茫之象，与「白头」「风霜」相映，衰景写衰心，悲慨无穷。此联不说悲而悲自弥漫，以最苍凉的意象收束全诗的沉郁，气象之雄、情调之悲，直承杜甫《登岳阳楼》「戎马关山北，凭轩涕泗流」的余韵。

The last couplet closes emotion in scene, straight to Du Fu, the home of the poem's feeling. White-haired, I mourn the past in frost and snow writes the poet white-haired, standing in the frost, mourning the old sites; the white-haired for the age approaching, the frost double-meaning the natural cold and the age's cruelty, man and realm both old and cold; old trees, gray waves, a boundless grief closes in scene — the withered old trees, the vast gray waves, all the decaying, vast images, set against the white-haired and the frost, the decaying scene writing the decaying heart, the grief boundless. The couplet not speaking grief and the grief of itself filling the air, closing the poem's somberness in the bleakest images, the grandeur of the air and the sorrow of the mood, straight inheriting Du Fu's Yueyang Tower: the war-horses north of the mountain passes, leaning on the rail, tears streaming.

Study

Word focus

迟 slow, delayed — conveys a stagnant, sorrowful mood 「夕阳迟」之「迟」，写夕阳下沉之迟缓，是首联炼字之眼。「迟」字极静极缓——夕阳本会照常西沉，而在此刻的诗人眼中，它迟迟不肯落下，仿佛时间凝滞，暗透出诗人凝滞悲凉、不忍离去的心境。静中藏痛：景愈静、日愈迟，愈见心之沉重与时光难挽的怅惘。此字与「帘旌不动」的「不动」相配，一旗一人一夕，皆静皆迟，共同构成首联「以静写悲」的氛围，也为全诗「欲暮」「凭危」「风霜」的时间意象埋下伏笔，是陈与义炼字入神的典型。

三年 three years — the period of national calamity since 1126 「三年多难」之「三年」，指靖康元年（1126）以来约三年的离乱岁月，以时间浓缩国破家亡之痛，是全诗情感的时间坐标。「三年」与「万里」对举，一写时间之久、一写空间之远，将个人投老南奔的遭遇置于「三万里河东入海」的破碎山河之中，愈见其沉痛。「三年」看似平常的纪数，实则包含汴京陷落、仓皇南渡、流离湖湘的全部苦难，以数字写尽乱离，举重若轻，正是南渡诗人「以诗存史」的笔法，与「万里」同为全诗最沉重的字眼。

老木 old trees — paired with 'white hair' and 'gray waves' to evoke decay and sorrow 「老木苍波」之「老木」，写苍老的树木，与「白头」「苍波」叠映，是全诗衰景结情的核心意象。「老木」既写眼前所见之景——岳阳楼畔经年累月的古木，枝老叶疏；更暗喻诗人自身——乱离三年、白头投老，如老木之经风霜。「老木」与「苍波」相配，一枯一茫、一近一远，皆是衰败苍茫之象，以衰景写衰心，悲慨无尽。此词不用「古木」「枯木」而用「老木」，着「老」字则物我双关，人老、木老、国运亦老，一字而境界全出，正是宋诗炼字重意的典型。