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宋 Song · 诗 Poem

陆游·关山月

Moon over the Mountain Pass

陆游

Lu You

爱国patriotism 边塞frontier 感怀memory

关山月和戎诏下十五年，将军不战空临边。
朱门沉沉按歌舞，厩马肥死弓断弦。
戍楼刁斗催落月，三十从军今白发。
笛里谁知壮士心，沙头空照征人骨。
中原干戈古亦闻，岂有逆胡传子孙。
遗民忍死望恢复，几处今宵垂泪痕。

Fifteen years since the edict of peace was sent down;
The generals give no battle, in vain hold the border.
Behind vermilion gates they drum and sing in the deep;
In the stables the war-horses fatten to death, the bowstrings snap.
On the watch-tower the warning cauldron hastens the sinking moon;
Thirty years in the army, now white-haired.
In the flute, who knows the warrior's heart?
On the sand, in vain the moon lights the soldiers' bones.
The central plains' war drums—of old we heard them;
How could the rebel Hu be passed to sons and grandsons?
The remnant people endure death, watching for recovery;
In how many places tonight do tears fall?

Listen

Meaning

Fifteen years since the peace edict came down; the generals give no battle, in vain holding the border. Behind vermilion gates they still drum and sing; in the stables the war-horses fatten to death and the bowstrings snap. On the watch-tower the warning cauldron hastens the sinking moon; thirty years in the army, now white-haired. In the flute, who understands the warrior's heart? On the sand, in vain the moon lights the soldiers' dry bones. The central plains' war drums—of old we heard of them; how could the rebel Hu be passed to sons and grandsons? The remnant people endure death, watching for recovery; in how many places tonight do tears wet their sleeves?

议和的诏令已经下达十五年了，将军不再作战，徒然驻守在边关。朱门深院之中依旧按着节拍歌舞升平，马棚里的战马肥胖而死，弓弦早已断折。戍楼上的刁斗声催促着明月西落，三十岁从军的人如今已满头白发。笛声里谁能理解壮士的心事，沙场上空自照着征人的枯骨。中原的战乱自古以来就曾听说，哪有让金人传子传孙的道理？沦陷区的遗民忍死求生、盼望恢复，今夜不知多少地方的人们在垂泪。

Appreciation

This poem uses the old yuefu title 'Moon over the Mountain Pass' to write the affairs of the time. The whole is structured in three contrasted planes: the generals who will not fight, the vermilion gates that sing and dance, and the soldiers' white bones and the remnant people's tears, forming a strong contrast. 'Behind vermilion gates they drum and sing in the deep' set against 'on the sand, in vain the moon lights the soldiers' bones' uses joy to set off grief; 'in the flute, who knows the warrior's heart' writes wrath in a question. Narrative fused with argument, sinking and turning, it takes the bone of Du Fu's sinking majesty.

【白话串讲】 “和戎诏下十五年，将军不战空临边”——陆游写南宋：和议签了十五年，将军不打仗，骏马肥死、弓弦断。“遗民忍死望恢复，几处今宵垂泪痕”——中原遗民，还在等王师。【意象与手法】全诗借乐府古题《关山月》，以「月」为统摄意象，分写将军不战、朱门歌舞、征夫白头、白骨空照、遗民垂泪等画面，形成强烈对比结构：「朱门沉沉按歌舞」与「沙头空照征人骨」对举，以乐衬哀；「笛里谁知壮士心」以问写愤；「遗民忍死望恢复」以忍死写沉痛。叙事中融议论，沉郁顿挫，得杜甫沉雄之骨。【情感与主旨】此诗作于宋孝宗淳熙四年（1177），陆游时在成都。自隆兴和议（1163）至今约十五年，南宋朝廷偏安一隅，不思恢复。诗人以乐府旧题写时事，将守边征夫、朱门权贵、中原遗民三方对照，痛斥和议误国、权贵误国，抒发壮志难酬的悲愤与不忘恢复的执念，是其爱国诗「诗史」精神的代表作。【名句点睛】「和戎诏下十五年，将军不战空临边」开篇点题，直斥和议误国，「空临边」三字写尽报国无门的愤慨；「遗民忍死望恢复，几处今宵垂泪痕」以遗民泪痕作结，把家国之痛推到最高潮，千载之下犹令人动容。

Background

This poem was written in the fourth year of Chunxi (1177) of Emperor Xiaozong, when Lu You was in Chengdu. Since the 'Longxing peace treaty' of the first year of Longxing (1163) some fifteen years had passed; the Southern Song court sheltered in the south, the generals gave no battle, the powerful ministers sang and danced. The poet, using the old yuefu title 'Moon over the Mountain Pass', through the threefold contrast of the border soldiers, the vermilion powers, and the central-plains remnant, lashes the peace policy that betrayed the country—a representative work of his patriotic poetry's 'poem-history' spirit.

陆游（1125—1210），字务观，号放翁，越州山阴（今浙江绍兴）人，南宋最伟大的爱国诗人。他生当南宋初年，自幼受父辈爱国思想的熏陶，一生念念不忘收复中原，曾亲临川陕前线，投身军旅生活，然终其一生，「扫胡尘」「收故土」的夙愿始终未偿，遂以诗歌宣泄其悲愤，存诗九千余首，为古代存诗最多的诗人。此诗作于宋孝宗淳熙四年（1177），陆游五十三岁，时在成都，任成都府路安抚司参议官兼四川制置使司参议官。此前一年（淳熙三年），陆游曾在南郑（今陕西汉中）前线从事军旅生活，「铁马秋风大散关」的亲历使他对抗战与和议有切身体会。自隆兴元年（1163）宋金「隆兴和议」订立，至淳熙四年恰约十五年，南宋朝廷以岁币换苟安，前线将士解甲、战马肥死，而临安、成都等地的权贵依旧歌舞升平。陆游于此年秋夜望月，百感交集，遂借乐府旧题《关山月》写下此诗，直斥「和戎诏」之误国。诗中「三十从军今白发」亦暗含诗人自况：其一生力主抗金，屡遭排挤，壮志未酬而白发已生。全诗以一月贯三层（将军、征夫、遗民），是南宋和议时代最沉痛的历史证词，与辛弃疾《破阵子》、文天祥《正气歌》同为南宋爱国文学的代表作。

Art

The whole borrows the old yuefu title, with 'the moon over the mountain pass' as the governing image, and writes in three planes: the generals who will not fight, the vermilion gates that sing and dance, the soldiers' white bones and the remnant people's tears, forming a strong contrast. 'Behind vermilion gates they drum and sing in the deep' set against 'on the sand, in vain the moon lights the soldiers' bones' uses joy to set off grief; 'in the flute, who knows the warrior's heart' writes wrath in a question. Narrative fused with argument, sinking and turning, it takes the bone of Du Fu's sinking majesty.

此诗为十二句的七言古诗，章法上以「月」为经、以「对照」为纬，分三层写尽和议误国的全貌，结构严整而气韵沉雄。前四句写「和戎」之害的第一层——权贵与边将：「和戎诏下十五年」以叙事起，点明时间，直斥误国；「将军不战空临边」写边将解甲，「空」字写尽徒劳；「朱门沉沉按歌舞」以「沉沉」状深院幽闭、歌舞不休；「厩马肥死弓断弦」以战马肥死、弓弦断折写武备废弛，一组画面即见朝野上下皆忘恢复。中间四句写征夫之悲：「戍楼刁斗催落月」写戍卒彻夜不眠，刁斗声催月落；「三十从军今白发」写岁月空耗、老于边关；「笛里谁知壮士心」以问句直写悲愤；「沙头空照征人骨」以白骨映月，惨烈至极——「空临边」之「空」与「空照骨」之「空」遥相呼应，同一「空」字贯穿两层。末四句拓开境界，写中原遗民：「中原干戈古亦闻，岂有逆胡传子孙」以古今对照发为议论，语气转为激烈；「遗民忍死望恢复，几处今宵垂泪痕」以遗民泪痕收束，把家国之痛推向最高潮。全诗三层对照：将军之空守对朱门之歌舞，征夫之白发对战马之肥死，遗民之泪痕对朝廷之苟安，爱憎分明，沉郁顿挫，得杜诗「以时事入诗」之骨髓而自有放翁的雄直。

Allusions

'Moon over the Mountain Pass' is originally a Han yuefu 'drum-and-horn' tune, mostly writing border garrison and parting; Lu You follows its theme but fills it with new meaning. 'The warning cauldron' (diaodou) uses the military bronze-vessel allusion (see the Shiji, biography of Li Guang). 'The rebel Hu be passed to sons and grandsons' darkly jabs at the Jin having held the central plains so long that generations succeed. 'The remnant people endure death' transforms Du Fu's 'the remnant people's tears spent in the Hu dust'. The whole writes current affairs under an old title; the allusions are hinted yet their edge shows.

此诗用乐府旧题而注入全新的时代内容。「关山月」本为汉乐府《鼓角横吹曲》之一，多写征戍离别、关山思乡之情，李白《关山月》「明月出天山，苍茫云海间」即其名作；陆游沿用此题，却将传统的征人怀乡升华为对朝廷和议的控诉，是「旧瓶装新酒」的典范。诗中多处暗用典实：「和戎诏」指南宋与金订立的和议，隆兴元年（1163）的「隆兴和议」、嘉定元年（1208）的「嘉定和议」皆以割地纳贡求安，此句直刺时政；「刁斗」为军中铜制炊具，夜则击以报更，典出《史记·李将军列传》「不击刁斗以自卫」的记载，此处以刁斗声写戍楼夜警，兼有「边声」的苍凉；「朱门」用杜甫「朱门酒肉臭，路有冻死骨」之句意，指权贵豪门的奢靡；「逆胡传子孙」暗刺金人占据中原已久、已历数代，语出《左传》「非我族类，其心必异」的华夷之辨；「遗民忍死」化用杜甫《羌村三首》「世乱遭飘荡，生还偶然遂」及《春望》「国破山河在」的遗民情结，又与《闻官军收河南河北》的「剑外忽传收蓟北」遥遥相对——杜诗写收复之喜，陆诗写未复之痛。此外，「沙头空照征人骨」的月照白骨意象，可上溯至《古诗十九首》「出郭门直视，但见丘与坟」及王翰「古来征战几人回」的征人主题。全诗用典皆暗含而不露，化入白描叙事之中，锋芒毕露而血肉充盈。

Commentary

The Qing Fang Dongshu, in his Zhao Mei Zhan Yan, judged: 'This kind of poetry learns from Du yet can change; sinking and turning, enough to stiffen the coward.' The modern Qian Zhongshu said: 'Moon over the Mountain Pass uses one moon to thread three planes, its structure like the snake of Changshan.' The whole's bone is firm and grey, its love and hate clear—a great bell of the Southern Song patriotic poetry scene, shining after Du Fu's Song of War Chariots.

此诗是陆游爱国诗的代表作，历来评价极高。清代方东树《昭昧詹言》评此诗「沉痛追杜」，谓其「学杜而能变，沉郁顿挫，足以立懦」，点出其与杜甫诗史精神的承继关系；又谓「此等诗纯是一片忧国心肠，不可不反复读之」。近人钱锺书《宋诗选注》论陆游七古，特举《关山月》为例，称其「以一月贯通三层，章法如常山之蛇」，赞赏其以「月」为线索贯穿将军、征夫、遗民三层空间的构思。从文学史看，此诗体现了南宋爱国诗的两大特征：一是强烈的现实指向，直斥和议、直刺时政，诗与史互证，具「诗史」品格；二是深沉的悲愤气质，非一般边塞诗的苍凉，而是「国耻未雪」的切肤之痛，故其「悲」中带「愤」、哀而不靡。与高适、岑参的盛唐边塞诗相比，陆游此诗无征战之豪，而有和议之痛；与杜甫《兵车行》相比，杜诗写兵役之惨，陆诗写弃战之悲，同是反战，一为战争之害、一为不战之害，恰成映照。此诗与《书愤》（「楼船夜雪瓜洲渡」）、《秋夜将晓出篱门迎凉有感》并称陆游爱国诗名篇，在南宋诗坛如黄钟大吕，激励后世无数志士，其价值历久弥新。

Prosody

Form Poem, seven-character ancient verse (yuefu form)七言古诗（乐府体，十二句）

Rhyme Ping-shui rhyme, level and oblique rhymes mixed (year, border, snap, trace belong to the xian group; heard, grandsons belong to the wen group; moon, bones belong to the entering-tone yue group)平仄韵交替：年、边、弦（平声先韵），月、骨（入声月韵），闻（平声文韵）、孙（平声元韵）、痕（平声元韵），古体不避邻韵通押。

Tone pattern Ancient-style poem, free level-oblique, not bound by regulated rules古体诗平仄自由，不依近体律拘；句以四三节奏为主，沉郁顿挫。

Reading note Moon over the Mountain Pass is an old yuefu title; Lu You writes current affairs in twelve seven-character lines, level and oblique rhymes interlaced, majestic in breath.此诗为七言古诗，属乐府体，共十二句，句式全为七言而平仄不拘，以古体行之，正合其沉郁顿挫的内容。用韵上，此诗平仄韵交替，别具匠心：前四句韵脚「年、边、弦」押平声先韵，平韵绵长，写和议之久的沉缓；中四句「月、骨」押入声月韵，入声短促急迫，写征夫之悲的激切；末四句「闻、孙、痕」押平声文元韵，韵脚舒展，写议论与感慨的悠长。平声与入声交替，声情随内容流转：平韵处沉缓如长叹，入声处顿挫如哽咽，正是古体诗「以声写情」的妙处。此外，「闻、孙」与「年、边、弦」虽分属文元与先韵，古体诗不避邻韵通押，正见其自由。节奏上，全诗以「四三」句读为主，如「和戎诏下——十五年」「沙头空照——征人骨」，顿挫分明；「朱门沉沉」「厩马肥死」「戍楼刁斗」等四字开头的句式重复出现，造成回环的节拍，如战鼓频催。句中多用仄声收尾的短语（不战、肥死、落月、白发、白骨、垂泪），读来沉重有力，与全诗的悲愤基调相称。此诗之格律价值，不在合近体之律，而在以自由古体承载沉痛时事，声情与辞情高度统一，是七古中「以气运声」的典范。

Line by line

和戎诏下十五年，将军不战空临边。

The peace edict has been out fifteen years; the general does not fight, in vain at the border.

议和的诏令已经下达十五年了，将军不再作战，徒然驻守在边关。

The peace treaty has been proclaimed fifteen years; the general does no battle, stationed at the border in vain.

开篇即点题，直斥和议误国。「和戎诏」指隆兴和议，诗人不称其名而冠以「和戎」，已含讥刺——与戎狄讲和，实为屈辱求和；「十五年」以具体年数坐实和议之久，如一笔账目，算得清清楚楚，足见诗人耿耿于怀。「将军不战空临边」写边将解甲：「不战」是承诏停战，「空临边」三字最见功力——「空」字写临边而无战可打，驻防变成摆设，报国之心与报国之门俱成虚空；此「空」与后文「沙头空照征人骨」的「空」遥相呼应，一写生者之虚耗，一写死者之枉死，两个「空」字贯穿全诗，正是「和戎」之祸的注脚。两句以叙事起，不事渲染而锋芒自露，为全诗定下讽喻的基调；后世读者读此，知南宋偏安之局，皆从这十五年的「空」字中见出。

The opening names the theme at once, denouncing the peace as the nation's undoing. The peace edict means the Longxing peace, the poet not naming it and yet prefixing the peace with the tribes, the satire within — the peace with the tribes in truth the humiliating submission; the fifteen years fixes the peace's long standing in the concrete number, like an account reckoned clear, showing the poet's brooding. The general does not fight, in vain at the border writes the border general's disarmament: the does not fight the edict's truce, the three words in vain at the border the masterful — the word in vain writing the border posting with no battle to fight, the garrison turned to the empty show, the heart to serve the country and the road to serve both turned void; this in vain echoes the later on the sand, the moon shines in vain on the conscript's bones, one the living's waste, one the dead man's vain death, the two in-vanis running through the poem, precisely the gloss on the peace's calamity. Two lines opening in narrative, no coloring and yet the edge self-showing, setting the poem's satiric tone; the later reader reading this, knows the Southern Song's appeasement order, all seen in the fifteen years' in vain.

朱门沉沉按歌舞，厩马肥死弓断弦。

The vermilion mansions, deep within, keep time to song and dance; the stable horses die of fat, the bowstrings snapped.

朱门深院之中依旧按着节拍歌舞升平，马棚里的战马肥胖而死，弓弦早已断折。

Deep in the vermilion mansions they keep time to song and dance; the stable horses die of overfeeding, the bowstrings are snapped.

此联以一组对照写权贵之奢与武备之废，是全诗最尖锐的画面。「朱门沉沉按歌舞」写权贵之乐：朱门以红色大门指代豪门，暗用杜甫「朱门酒肉臭」之意；「沉沉」叠字状深院之幽闭，兼写歌舞通宵、气氛沉酣；「按歌舞」写按拍而歌、依节而舞，一个「按」字画出权贵从容享乐之态。「厩马肥死弓断弦」写军备之废：战马不骑而肥死，弓弦不用而断折，一「肥」一「断」，以物之废弛写人之苟安，不着一议而讽刺自见。此联把「朱门」的喧闹与「厩马」的惨象并置，乐与悲、生与死形成强烈反差，正是「以乐景写哀」的典范：权贵之歌舞愈欢，战马之肥死愈惨，边备之废弛愈令人痛心。陆游亲历南郑前线，深知战马弓矢之于国防的意义，故写来字字锥心。

This couplet writes the powerful's luxury and the military's neglect in a set of contrasts, the poem's sharpest picture. The vermilion mansions, deep within, keep time to song and dance writes the powerful's delight: the vermilion gate for the great house, secretly borrowing Du Fu's the vermilion gate's wine and meat gone; the deep within the repeated word for the inner court's seclusion, also the all-night singing, the drunken mood; keep time to song and dance writes the music by the beat, the dance by the measure, the word keep drawing the powerful's composed revelry. The stable horses die of overfeeding, the bowstrings are snapped writes the arms' neglect: the warhorses unridden and fat to death, the bowstrings unused and snapped, the fat and the snapped, the things' decay writing the men's ease, not one word of argument and the satire self-seen. This couplet sets the vermilion mansions' revelry and the stable horses' death side by side, delight and grief, life and death in sharp contrast, precisely the model of writing grief through delighted scene: the more cheerful the powerful's singing, the more pitiable the warhorses' death, the border's decay the more heart-wounding. Lu You himself served at the Nanzheng front, knowing well the warhorse and the bow's meaning for defense, hence every character written to pierce the heart.

笛里谁知壮士心，沙头空照征人骨。

In the flute, who knows the hero's heart? On the sand, the moon shines in vain on the conscript's bones.

笛声里谁能理解壮士的心事，沙场上空自照着征人的枯骨。

In the flute's air, who understands the hero's heart? On the sand, the moon shines vainly on the conscript's bones.

此联由「三十从军今白发」的个体悲慨推及全体征夫，是全诗情感的高潮之一。「笛里谁知壮士心」以问句写愤：笛声本写征人思乡之情（《关山月》古曲即以笛为主奏），然而吹笛者之心无人能知——上层不闻不问，壮士报国之志付诸流水，一个「谁知」写出孤愤的深度。此句暗用《关山月》乐府「戍客望边色，思归多苦颜」的旧意，而翻为对朝廷的质问。「沙头空照征人骨」是千古警句：白骨弃于沙场，明月空自照临，「空照」二字写月光之无情、朝廷之无义——连月光都照了白骨，而朝堂竟无一人过问。此联「笛」与「骨」、「心」与「照」对举，听觉与视觉交织，笛声呜咽、白骨森然，声与色俱惨。两个「空」字至此再度回响（前有「空临边」），生者虚耗、死者枉死，和议之祸的罪证昭然。全句无一字骂而愤在其中，正是陆游「愤」诗的极致笔法。

This couplet pushes the individual grief of the thirty years enlisted, now white-haired, to the whole of the conscripted host, one of the poem's emotional peaks. In the flute's air, who understands the hero's heart? writes the indignation in the question: the flute by nature writes the conscript's homesickness (the Border Moon ancient piece played on the flute), and yet the player's heart no one knows — the court above asking nothing, the hero's will poured out like water, the two words who knows writing the depth of the lonely anger. This line secretly borrows the Border Moon yuefu's the garrisoned stranger gazing at the border hues, the homesick faces all grief, and turns it into the question to the court. On the sand, the moon shines vainly on the conscript's bones is the warning line through the ages: the white bones abandoned on the battlefield, the moon shining in vain, the two words shines in vain writing the moonlight's heartlessness and the court's injustice — even the moonlight has shone on the white bones, and the court not one man to ask. This couplet sets the flute and the bones, the heart and the shining, hearing and sight interwoven, the flute's wail and the white bones' grimness, sound and color both bleak. The two in-vanis here echo again (before, the in vain at the border), the living wasted, the dead slain in vain, the peace's crime manifest. The whole line not one word of cursing and the anger within, precisely the extreme of Lu You's angry poetry.

遗民忍死望恢复，几处今宵垂泪痕。

The remnant people endure death, hoping for recovery; in how many places tonight, the tear-streaked cheeks.

沦陷区的遗民忍死求生、盼望恢复，今夜不知多少地方的人们在垂泪。

The conquered people endure life and death, hoping for recovery; how many places tonight show the tear tracks.

尾联拓开一层，由边关写到中原沦陷区的遗民，是全诗格局最大、情感最痛的一笔。「遗民忍死望恢复」写遗民之状：「忍死」二字力重千钧——忍死而不死，只为等待恢复；生不如死而强忍苟活，其望之切、其痛之深，尽在「忍」字之中。「望恢复」三字与开篇「和戎诏」呼应：朝廷和戎十五年，而遗民望复十五年，两相对照，谁之过欤？「几处今宵垂泪痕」以景结情：「几处」写不止一处，今夜中原大地处处垂泪，泪痕之多之深，把个人的悲愤推为全民的悲恸；「今宵」与诗题「关山月」相应——同是一轮明月，照边关之白骨，照朱门之歌舞，照遗民之泪痕，月色之下，家国之痛无所遁形。结句不用议论而用画面，余痛无穷，如江流之不尽。此联与杜甫「感时花溅泪」的以泪写悲一脉相承，而更为沉痛，是陆游爱国诗中境界最高的结尾之一。

The tail couplet opens one layer, from the border to the occupied central plain's remnant people, the poem's broadest vision and most grief-stricken stroke. The conquered people endure life and death, hoping for recovery writes the remnant people's plight: the two words endure death, the weight of a thousand jun — enduring death and not dying, only waiting for recovery; life worse than death and yet enduring to live, the hope's eagerness and the grief's depth all within the word endure. The hope for recovery echoes the opening peace edict: the court's peace fifteen years, and the remnant people's hope fifteen years, the contrast — whose fault? in how many places tonight, the tear-streaked cheeks ends feeling in scene: the how many places writing more than one, tonight the central plain's earth everywhere weeping, the tear tracks' number and depth, pushing the personal grief to the people's mourning; the tonight answers the poem title Border Moon — the same round moon, shining the border's white bones, the vermilion mansions' singing, the remnant people's tear tracks, beneath the moon the national grief nowhere hidden. The close not in argument but in picture, the after-grief infinite, like the unending river. This couplet follows Du Fu's the time's grief makes the flowers shed tears line of writing grief through tears, and yet the more grief-stricken, one of the highest closes in Lu You's patriotic poetry.

Study

Word focus

空 The word 'vain' (kong) appears twice (in vain hold the border, in vain lights the bones), writing futility and nothingness, strengthening the grief that there is no road to serve the country. 全诗两用「空」字（「将军不战空临边」「沙头空照征人骨」），是陆游精心安排的诗眼。第一个「空」写生者之虚耗：将军临边而无战可打，驻防沦为形式，报国之志与报国之门俱成虚空，「空」字写尽「有力无处使」的悲愤；第二个「空」写死者之枉死：征人白骨曝于沙场，明月空自照临，无人收殓、无人过问，「空」字写尽「死而无谓」的沉痛。两个「空」字遥相呼应，贯穿首尾，把和议之下生者与死者的双重悲剧凝于一字：生的虚耗与死的枉然，皆是「和戎诏」的罪证。若易作「徒」「枉」等字，虽义近而失其空阔苍凉之感；「空」字兼有时间之漫长（十五年）与空间之空旷（沙场），又带月光清冷的质感，声韵上与「临边」「白骨」相协，读来有余音。一字而见全篇之骨，正是陆游炼字的功力所在。

沉沉 'Behind vermilion gates they drum and sing in the deep'—the reduplicated word 'deep' (chenchen) renders the secluded, unending compound where they sing and dance, darkly jabbing the powerful who live drunk and dream dead. 「朱门沉沉按歌舞」之「沉沉」叠字，状深院之幽闭与夜宴之沉酣，是全诗写权贵最传神的一笔。「沉沉」本写屋宇之深邃（如「庭院深深深几许」），此处兼写三重意味：一写空间之深，朱门深院层层叠叠，隔绝边声民瘼；二写氛围之沉，歌舞通宵、酒气氤氲，一派对酒当歌的沉溺之态；三写时间之久，十五年如一日，夜夜如此、沉沉不醒。三意叠合，权贵「乐不思蜀」的麻木尽在二字之中。与下句「厩马肥死弓断弦」对照，「沉沉」之声与「断弦」之静、权贵之沉酣与战马之死寂，形成强烈的视听反差。叠字之妙还在于音节：双声叠韵，读来低沉绵长，如重幕垂下，声情与语义浑然一体。陆游写权贵不着一贬词，而「沉沉」二字已含无尽讽意，正是「不怒而威」的笔法。

忍 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「遗民忍死望恢复」之「忍」字，是全诗最沉重的一字。「忍死」谓忍死而不死，强延残喘以待恢复——不是贪生，而是以「望恢复」为活下去的唯一理由，生不如死而强忍之，其痛何如。「忍」字写尽遗民的双重煎熬：金人铁蹄之下的屈辱之忍，与盼望恢复而不得的等待之忍。此字承前文而来：将军之「空」、壮士之「谁知」、白骨之「空照」，层层递进，至遗民而推到顶点——前方白骨已无人过问，后方遗民仍在忍死苦等，朝堂歌舞依旧，此「忍」字正是对「和戎诏」最沉痛的控诉。若易作「望」「盼」等字，则只有期盼之情，失其刻骨之痛；「忍」字兼有承受与等待二义，把遗民的坚忍、悲苦、愤懑熔于一炉。一字之下，全诗的家国之痛找到了最后的落点，故「忍死」二字千载以下犹令人泫然。