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宋 Song · 诗 Poem

秋思

Autumn Thoughts

陆游

Lu You

感怀memory 哲理Philosophy

利欲驱人万火牛，江湖浪迹一沙鸥。
日长似岁闲方觉，事大如山醉亦休。
衣杵相望深巷月，井桐摇落故园秋。
欲舒老眼无高处，安得元龙百尺楼。

Profit and desire drive men like ten thousand fiery oxen,
I drift on rivers and lakes, a single gull on the sand.
The long days seem like years — I feel it only in leisure;
Affairs great as mountains — even drunk, they are done with.
The washing-beetles' sound is heard in the deep lane's moon,
The well-side wutong shakes down the autumn of the old garden.
I would ease my old eyes, but there is no high place —
How am I to get the hundred-foot tower of Yuan Long?

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Meaning

A poem of the aging hero's autumn, written by Lu You in his later years. Profit and desire drive men like ten thousand fiery oxen; the poet drifts on rivers and lakes, a single gull on the sand — the contrast of the driven world and the free wanderer. The long days seem like years, felt only in leisure; affairs great as mountains are done with, even drunk. The washing-beetles sound in the deep lane's moon; the well-side wutong shakes down the autumn of the old garden. And the close is the longing of the old hero: he would ease his old eyes, but there is no high place — how is he to get the hundred-foot tower of Yuan Long? The poem is the classic expression of the retired hero's restless autumn, who can neither serve nor be still.

利欲驱人万火牛，江湖浪迹一沙鸥。日长似岁闲方觉，事大如山醉亦休。衣杵相望深巷月，井桐摇落故园秋。欲舒老眼无高处，安得元龙百尺楼。

Appreciation

[Plain Paraphrase] Profit and desire drive men like ten thousand fiery oxen; I drift on the rivers and lakes, a single gull on the sand. The long days seem like years — I feel it only in leisure; affairs great as mountains — even drunk, they are done with. The washing-beetles are heard in the deep lane's moon; the well-side wutong shakes down the old garden's autumn. I would ease my old eyes, but there is no high place — how am I to get the hundred-foot tower of Yuan Long? [Structure and Thought] The poem moves from the contrast of the driven world and the free wanderer, through the leisure and the finished affairs, to the autumn scene of the old garden, and closes on the longing for the high tower — the hero's need to see far. [Key Technique] The poem's art is the union of the two Lu You: the free gull of the first couplet and the hero who longs for the hundred-foot tower of the last — the retirement and the restlessness held in one poem. [Emotional Tone] At once serene and restless: the poet has accepted his leisure, but the old eye longs for a height from which to see the world he has left.

【白话串讲】陆游写《秋思》：“利欲驱人万火牛，江湖浪迹一沙鸥”——“日长似岁闲方觉，事大如山醉亦休”——“衣杵相望深巷月，井桐摇落故园秋”——“欲舒老眼无高处，安得元龙百尺楼”——他写秋日闲居。【意象与手法】此诗是陆游写秋思的名篇，写秋日的感慨与壮志，是陆游诗中「以秋写志」的名篇。前两联写感慨：「利欲驱人万火牛，江湖浪迹一沙鸥」写利欲驱人、江湖沙鸥；「日长似岁闲方觉，事大如山醉亦休」写日长似岁、事大如山，是名句。后两联写秋思：「衣杵相望深巷月，井桐摇落故园秋」写衣杵深巷、井桐故园；「欲舒老眼无高处，安得元龙百尺楼」写欲舒老眼、元龙百尺楼，是千古名句。全诗以秋日的感慨写壮志难酬的执着，那「安得元龙百尺楼」写尽登高远望的壮志，是陆游「以秋写志」的名篇。【情感与主旨】此诗约作于陆游晚年家居山阴时（约 1182 年罢官后），写秋日的感慨与壮志。陆游一生力主抗金、收复中原，却屡遭排挤（自江西被罢官后家居）。此诗即写其秋日的感慨——利欲驱人（世人被利欲驱使如万头火牛）、江湖浪迹（自己却如沙鸥浪迹江湖），日长似岁（闲居的日子长得像一年）、事大如山（国事大如山却只能醉中休），衣杵相望（深巷月下捣衣声相望）、井桐摇落（井边梧桐摇落，正是故园之秋），欲舒老眼无高处（想舒展老眼眺望却没有高处）、安得元龙百尺楼（哪里得到陈元龙那样的百尺高楼）。诗中「利欲驱人万火牛，江湖浪迹一沙鸥」写利欲与沙鸥——利欲驱人万火牛（那利欲驱使世人如万头火牛（田单火牛阵之典，写世人被利欲驱赶横冲直撞）），江湖浪迹一沙鸥（自己却如沙鸥浪迹江湖），那「利欲驱人万火牛」写尽世人的奔竞、「江湖浪迹一沙鸥」写尽自己的闲放；「日长似岁闲方觉，事大如山醉亦休」写日长事大——日长似岁闲方觉（日子长得像一年，闲下来才觉得），事大如山醉亦休（国事大如山，醉了也就休），那「日长似岁」写尽闲居的漫长、「事大如山醉亦休」写尽无奈的排遣；「衣杵相望深巷月，井桐摇落故园秋」写故园秋——衣杵相望深巷月（深巷月下捣衣声相望（写秋夜的捣衣声）），井桐摇落故园秋（井边梧桐摇落，正是故园之秋），那「衣杵相望深巷月」写尽秋夜的捣衣声、「井桐摇落故园秋」写尽故园的秋景；「欲舒老眼无高处，安得元龙百尺楼」写登高望远——欲舒老眼无高处（想舒展老眼眺望却没有高处），安得元龙百尺楼（哪里得到陈元龙（陈登）那样的百尺高楼（用陈登求田问舍之典，写高卧百尺楼的豪气）），那「欲舒老眼无高处」写尽登高无处的无奈、「安得元龙百尺楼」写尽高卧远望的壮志，是千古名句。全诗以秋日的感慨写壮志难酬的执着，那「安得元龙百尺楼」写尽登高远望的壮志，是陆游「以秋写志」的名篇。【名句点睛】常考“日长似岁闲方觉，事大如山醉亦休”写闲居中的感慨；“欲舒老眼无高处，安得元龙百尺楼”写登高远望的壮志，是千古名句。

Background

Lu You (1125–1210), courtesy name Wuguan, styled himself the Old Man of Fangweng, was the greatest patriotic poet of the Southern Song, who spent his long life longing to recover the lost north and serving, when permitted, in the campaigns against the Jurchen; his later years were spent in forced retirement in his native Shanyin. This poem, written in those years, expresses the characteristic restlessness of the retired hero: the acceptance of the gull's life and the longing for the high tower from which to see the world. The 'hundred-foot tower of Yuan Long' alludes to the Eastern Han hero Chen Deng (Yuan Long), who slept on the high tower to look down on the unworthy — the emblem of the hero's contempt and his need for height.

此诗约作于陆游晚年家居山阴时（约淳熙九年（1182）罢官后），是陆游写秋思的诗。陆游（1125-1210）字务观，号放翁，越州山阴人，是南宋爱国诗人。陆游一生力主抗金、收复中原，却屡遭排挤：淳熙七年（1180），陆游自江西抚州被罢官，此后家居山阴。此诗即写其秋日的感慨——闲居山阴的秋日，世人奔竞于利欲、自己却浪迹江湖，闲居的日子漫长、国事却无可奈何，秋夜的捣衣声与井桐的摇落勾起故园之思，想登高远望却无高处。诗中「利欲驱人万火牛，江湖浪迹一沙鸥」写利欲与沙鸥——「利欲驱人万火牛」写利欲驱使世人如万头火牛（那「利欲驱人」写世人被利欲驱使，「万火牛」用田单火牛阵之典（战国时田单以火牛冲阵，令人想到「火牛」的横冲直撞——那世人被利欲驱赶，如万头火牛横冲直撞）），「江湖浪迹一沙鸥」写自己如沙鸥浪迹江湖（那「江湖浪迹」写浪迹江湖、「一沙鸥」写如一只沙鸥（令人想到「飘飘何所似，天地一沙鸥」（杜甫《旅夜书怀》）的沙鸥意象）），那「利欲驱人万火牛」写尽世人的奔竞、「江湖浪迹一沙鸥」写尽自己的闲放；「日长似岁闲方觉，事大如山醉亦休」写日长事大——「日长似岁闲方觉」写日子长得像一年，闲下来才觉得（那「日长似岁」写日子漫长如年、「闲方觉」写闲下来才觉得），「事大如山醉亦休」写国事大如山、醉了也就休（那「事大如山」写国事大如泰山、「醉亦休」写醉了也就休），那「日长似岁」写尽闲居的漫长、「事大如山醉亦休」写尽无奈的排遣；「衣杵相望深巷月，井桐摇落故园秋」写故园秋——「衣杵相望深巷月」写深巷月下捣衣声相望（那「衣杵」写捣衣的杵（捣衣声，秋夜的意象）、「深巷月」写深巷的月色），「井桐摇落故园秋」写井边梧桐摇落、正是故园之秋（那「井桐」写井边的梧桐（令人想到「金井梧桐秋叶黄」的井桐意象）、「故园秋」写故园之秋），那「衣杵相望深巷月」写尽秋夜的捣衣声、「井桐摇落故园秋」写尽故园的秋景；「欲舒老眼无高处，安得元龙百尺楼」写登高望远——「欲舒老眼无高处」写想舒展老眼眺望却没有高处（那「欲舒老眼」写想舒展老眼（老了，眼昏，想舒眼远望）、「无高处」写没有高处），「安得元龙百尺楼」写哪里得到陈元龙那样的百尺高楼（那「元龙百尺楼」用陈登（元龙）之典（《三国志》载许汜论陈登「元龙湖海之士，豪气不除」，陈登「求田问舍」的故事；「百尺楼」令人想到「百尺竿头」「百尺高楼」的意象），那「安得元龙百尺楼」写尽高卧远望的壮志）。此诗是陆游「以秋写志」的名篇，那「安得元龙百尺楼」写尽登高远望的壮志，是理解其晚年心境的关键作品。

Art

The poem's art is the art of the double portrait. The first couplet sets the two poles: the driven world of the ten thousand fiery oxen — the fire-branded oxen of the Warring States strategy, used to break the enemy's line — and the poet's own drift, a single gull on the sand. The second couplet states the acceptance: the long days seem years in leisure; the mountain-great affairs are done with even in drunkenness. The third couplet returns to the scene: the washing-beetles in the deep lane's moon, the wutong shaking down the autumn — the old garden's autumn, the setting of the retired life. The final couplet then releases the poem's true feeling: he would ease his old eyes, but there is no high place — the longing for the hundred-foot tower of Yuan Long, the hero who will not be entirely at rest.

此诗的艺术特色可从四个层面解析。其一，以秋写志的构思。全诗以秋日的感慨写壮志难酬的执着——那「井桐摇落故园秋」的秋景，「安得元龙百尺楼」的壮志，那秋日的感慨正是壮志的底色，那壮志正是秋思的核心，以秋写志、情景交融。其二，以对照写感慨。「利欲驱人万火牛，江湖浪迹一沙鸥」以「利欲驱人」与「江湖浪迹」对照，写世人的奔竞与自己的闲放；「日长似岁闲方觉，事大如山醉亦休」以「日长似岁」与「事大如山」对照，写闲居的漫长与国事的无奈，那「火牛」与「沙鸥」、「似岁」与「如山」的对照，写尽感慨的深沉。其三，以意象写秋景。「衣杵相望深巷月，井桐摇落故园秋」以「衣杵」「深巷月」「井桐」写秋夜的意象——那捣衣声、月色、梧桐摇落，写尽故园的秋景，那「衣杵相望深巷月」写尽秋夜的捣衣声、「井桐摇落故园秋」写尽故园的秋景。其四，以「安得元龙百尺楼」写收束。「欲舒老眼无高处，安得元龙百尺楼」以「欲舒老眼无高处」写登高无处的无奈，以「安得元龙百尺楼」写高卧远望的壮志，那「安得元龙百尺楼」以百尺楼收束，写尽壮志难酬的执着，余味悠长。四重手法层层推进，使此诗成为陆游诗中「以秋写志」的名篇。

Allusions

'The ten thousand fiery oxen' (wan huoniu) alludes to the fiery oxen of the Warring States — the oxen with burning brands on their tails, driven against the enemy's line; the image of the driven, desperate world. 'The gull on the sand' is the free bird of the rivers and lakes, the emblem of the wanderer and the recluse. 'The hundred-foot tower of Yuan Long' is the tower of Chen Deng (Yuan Long), the Eastern Han hero who slept on the high tower, refusing to share his couch with the unworthy; the phrase became the emblem of the hero's need for height and his contempt for the base — and for Lu You, the height from which the old eye could still see the world.

此诗的意象与典故深植于秋思与壮志传统。「利欲驱人万火牛，江湖浪迹一沙鸥」写利欲与沙鸥——「利欲驱人万火牛」写利欲驱使世人如万头火牛（「万火牛」用田单火牛阵之典（战国时田单守即墨，以火牛冲阵破燕军，令人想到「火牛」的横冲直撞——那世人被利欲驱赶，如万头火牛横冲直撞，也令人想到「天下熙熙，皆为利来；天下攘攘，皆为利往」的奔竞），那「利欲驱人万火牛」写尽世人的奔竞），「江湖浪迹一沙鸥」写自己如沙鸥浪迹江湖（「一沙鸥」令人想到「飘飘何所似，天地一沙鸥」（杜甫《旅夜书怀》）的沙鸥意象——那「天地一沙鸥」写尽漂泊的孤独，此处「一沙鸥」写尽浪迹江湖的闲放），那「利欲驱人万火牛」写尽世人的奔竞、「江湖浪迹一沙鸥」写尽自己的闲放。「日长似岁闲方觉，事大如山醉亦休」写日长事大——「日长似岁」写日子漫长如年（令人想到「一日不见，如三秋兮」（《诗经》）的度日如年意象——那「日长似岁」正是度日如年，「闲方觉」写闲下来才觉得），「事大如山醉亦休」写国事大如山、醉了也就休（那「事大如山」令人想到「重于泰山」的意象——国事重于泰山，「醉亦休」写醉了也就休（借酒排遣，令人想到「但愿长醉不复醒」（李白《将进酒》）的醉乡意象）），那「日长似岁」写尽闲居的漫长、「事大如山醉亦休」写尽无奈的排遣。「衣杵相望深巷月，井桐摇落故园秋」写故园秋——「衣杵相望深巷月」写深巷月下捣衣声相望（「衣杵」写捣衣的杵（捣衣声是秋夜的经典意象，令人想到「长安一片月，万户捣衣声」（李白《子夜吴歌》）的捣衣意象——那「衣杵相望深巷月」，正是「万户捣衣声」的深巷版），「井桐摇落故园秋」写井边梧桐摇落、故园之秋（「井桐」令人想到「金井梧桐秋叶黄，珠帘不卷夜来霜」（王昌龄《长信秋词》）的井桐意象——那「井桐摇落」写尽秋叶的摇落，「故园秋」写尽故园之秋），那「衣杵相望深巷月」写尽秋夜的捣衣声、「井桐摇落故园秋」写尽故园的秋景。「欲舒老眼无高处，安得元龙百尺楼」写登高望远——「欲舒老眼无高处」写想舒展老眼却没有高处（那「舒老眼」写舒展老眼远望，令人想到「老眼」的意象——老眼昏花，想舒眼远望，「无高处」写没有高处），「安得元龙百尺楼」用陈登（元龙）之典（《三国志·魏书·陈登传》载：许汜论陈登「元龙湖海之士，豪气不除」，刘表问许汜，许汜言见陈登「无客主之意，久不相与语，自上大床卧，使客卧下床」，刘备言「如小人，欲卧百尺楼上，卧君于地，何但上下床之间邪」——那「元龙百尺楼」写尽高卧百尺楼的豪气，令人想到「百尺高楼」的登高望远意象），那「安得元龙百尺楼」写尽高卧远望的壮志。全诗化用田单、杜甫、李白、王昌龄、《三国志》（及陆游自己的「僵卧孤村」诗）的意象与典故，以秋写志、以用典写壮志，正是陆游「以秋写志」的本领。

Commentary

This poem is one of Lu You's most famous expressions of the retired hero's autumn, quoted for the perfect union of its two moods. The first couplet — the fiery oxen of the driven world and the single gull of the wanderer — is often cited as one of the most striking openings in the poetry of the Song, and the closing longing for Yuan Long's tower is the classic statement of the old hero who cannot be entirely at rest. Critics praise the poem's balance: the serene acceptance and the restless longing held in perfect tension.

此诗历来被推为陆游「以秋写志」的名篇，也是「利欲驱人万火牛」「日长似岁闲方觉，事大如山醉亦休」「安得元龙百尺楼」等名句的出处。历代论者对此诗评价较高：论者多指出此诗以秋日的感慨写壮志难酬的执着，以「利欲驱人万火牛，江湖浪迹一沙鸥」写世人的奔竞与自己的闲放，以「安得元龙百尺楼」写登高远望的壮志，是陆游爱国诗中的佳作。在文学史上，此诗的特殊价值在于：它以秋日写出了壮志难酬的感慨——那「利欲驱人万火牛，江湖浪迹一沙鸥」写尽了世人的奔竞与自己的闲放（世人被利欲驱使如万头火牛，自己却如沙鸥浪迹江湖），那「日长似岁闲方觉，事大如山醉亦休」写尽了闲居的漫长与国事的无奈（日子长得像一年，国事大如山却只能醉中休），那「衣杵相望深巷月，井桐摇落故园秋」写尽了秋夜的捣衣声与故园的秋景（深巷月下捣衣声相望，井边梧桐摇落正是故园之秋），那「欲舒老眼无高处，安得元龙百尺楼」写尽了登高无处的无奈与高卧远望的壮志——那「欲舒老眼无高处」写尽老眼昏花、登高无处的无奈，那「安得元龙百尺楼」写尽高卧百尺楼、极目远望的壮志——那「元龙百尺楼」的用典，写尽陆游虽老而豪气不除的壮志（那陈登「湖海之士，豪气不除」，正是陆游的自况），那「安得」写尽求之不得的感慨——想登高望远舒老眼，却无高处可得，正是壮志难酬的深沉。诗中「日长似岁闲方觉，事大如山醉亦休」写闲居与国事，是名句；「安得元龙百尺楼」写高卧远望，更是千古名句。此诗与陆游的《秋夜将晓出篱门迎凉有感》（「遗民泪尽胡尘里，南望王师又一年」）一样，都是写秋（秋思、秋夜）的名篇，一写遗民的期盼，一写自身的壮志。对于今日读者，此诗是理解陆游「晚年心境」与「以秋写志」的窗口，也是感受中国诗「秋思」传统的典范——那利欲驱人的火牛、浪迹江湖的沙鸥、日长似岁的闲居、事大如山的无奈、深巷的捣衣声、井桐的摇落、安得元龙百尺楼的壮志，穿越千年，仍在诉说着一个爱国诗人「壮志难酬」的秋思。

Prosody

Form Seven-character regulated verse (qiyan lüshi)七言律诗（仄起首句入韵）

Rhyme The poem rhymes on the level-tone words ou, xiu, qiu and lou in the you rhyme group, in the standard regulated-verse pattern.押下平十一尤韵，韵脚为「牛」「鸥」「休」「秋」「楼」。首句「牛」字平声入韵，属首句入韵之格。韵脚「牛」「鸥」「休」「秋」「楼」皆属尤部，韵音悠长婉转，正合其秋思感慨的风格。

Tone pattern The opening is striking with the fiery oxen and the gull; the middle is level with the leisure and the finished affairs; the close rises with the longing for the tower — the cadence of the old hero's restlessness breaking through the acceptance.利欲驱人万火牛，仄仄平平仄仄平；江湖浪迹一沙鸥，平平仄仄仄平平；日长似岁闲方觉，仄平仄仄平平仄；事大如山醉亦休，仄仄平平仄仄平；衣杵相望深巷月，平仄平仄平仄仄；井桐摇落故园秋，仄平平仄仄平平；欲舒老眼无高处，仄平仄仄平平仄；安得元龙百尺楼，平仄平平仄仄平。全诗平仄大体合于七律格律，音节悠长婉转。

Reading note This is a seven-character regulated verse, opening on an oblique tone with the first line entering the rhyme. It rhymes on the level-tone you rhyme — niu, ou, xiu, qiu and lou — a long, lingering rhyme that suits the poem's reflection. The tonal pattern follows the regulated grid throughout: 'li yu qu ren wan huo niu' (oblique-oblique-level-level-oblique-oblique-level) and so on through the eight lines. The four couplets divide clearly: the first contrasts profit and the gull, the second the leisure and the finished affairs, the third the old garden's autumn, and the last the longing for the tower. Read the second couplet with a low, restrained tone and the last with a deep, heroic one, so that the hero's unrest breaks through the acceptance.此诗是仄起首句入韵的七言律诗，押平声尤韵，格律严谨，音节悠长，是陆游爱国诗中「以秋写志」的名篇。全诗四联结构分明：首联写利欲与沙鸥（利欲驱人万火牛、江湖浪迹一沙鸥），颔联写闲居与国事（日长似岁闲方觉、事大如山醉亦休），颈联写故园秋（衣杵相望深巷月、井桐摇落故园秋），尾联写登高望远（欲舒老眼无高处、安得元龙百尺楼）。声调上，全诗以平声尤韵为韵脚，韵音悠长婉转，配合「日长似岁闲方觉」的苦闷与「安得元龙百尺楼」的壮志，全篇音节悠长而不失沉郁。诵读此诗，宜以低回的语调读颔联的闲居（日长似岁闲方觉），以豪壮而感慨的语调读尾联的壮志（安得元龙百尺楼），尤其「欲舒老眼无高处，安得元龙百尺楼」两句，要读得深沉而豪壮，方能传达出陆游壮志难酬的执着。陆游诗以「爱国」著称，此诗正是其「以秋写志」的经典。

Line by line

日长似岁闲方觉，事大如山醉亦休。

The long days seem like years — I feel it only in leisure; affairs great as mountains — even drunk, they are done with.

日子长得像一年，闲下来才觉得；国事大如泰山，醉了也就休。

The day is long as a year, felt only in leisure; affairs great as a mountain — when drunk, they are laid to rest.

这两句是写闲居与国事的名句，也是千古名句，以「日长似岁闲方觉」写闲居的漫长，以「事大如山醉亦休」写国事的无奈，深沉而无奈。「日长似岁闲方觉」写闲居的漫长——日子长得像一年，闲下来才觉得，「日长似岁」写日子漫长如年（那「日长似岁」写度日如年），「闲方觉」写闲下来才觉得（那闲下来，才觉得日子漫长），那「日长似岁闲方觉」写尽闲居的漫长——那闲居山阴的陆游，度日如年；「事大如山醉亦休」写国事的无奈——国事大如泰山，醉了也就休，「事大如山」写国事大如泰山（那收复中原的国事，大如泰山），「醉亦休」写醉了也就休（那借酒排遣，醉了也就算了），那「事大如山醉亦休」写尽国事的无奈——国事再大，也只能醉了作罢。这两句的深意在于：它以「日长似岁」与「事大如山」写出了闲居的漫长与国事的无奈——那「日长似岁闲方觉」写尽闲居的漫长（那「日长似岁」写度日如年，那「闲方觉」写闲下来才觉得——正因闲居无事，日子才漫长如年），那「事大如山醉亦休」写尽国事的无奈（那「事大如山」写国事大如泰山，那「醉亦休」写醉了也就休——正因无可奈何，才借酒排遣）；而更深一层，那「日长似岁」与「事大如山」正是陆游晚年的写照——那「日长似岁」写闲居的苦闷（有志难酬、闲居度日的苦闷），那「事大如山醉亦休」写国事的无奈（收复中原的国事大如泰山，自己却只能醉中休），那「日长」与「事大」的对照，写尽闲居的苦闷与国事的无奈——那「闲方觉」写尽苦闷的自觉（闲下来，才更觉得日子漫长），那「醉亦休」写尽无奈的排遣（无可奈何，只能醉中作罢），那「日长似岁」与「事大如山」，写尽陆游晚年壮志难酬的深沉。以「日长似岁」写度日如年、以「事大如山」写国事重大、以「醉亦休」写无奈排遣，正是陆游「以秋写志」的本领，也让这两句成为千古名句。

These two lines are a famous verse of the idle life and the national affairs, and a line through the ages, writing the idle life's length through the day-long-as-a-year-felt-in-leisure, and the national affairs' helplessness through the affairs-great-as-a-mountain-drunk-and-done, the depth and helplessness together. The day is long as a year, felt only in leisure writes the idle life's length — the day long as a year, felt only in leisure, the day-long-as-a-year writing the days' length like a year (the living-as-if-years), the felt-only-in-leisure writing the leisure's feeling (the leisure, then the days' long felt), exhausting the idle life's length — the leisure-dwelling Shanyin Lu You, living as if the years; affairs great as a mountain — when drunk, they are laid to rest writes the national affairs' helplessness — the affairs great as Mount Tai, and the drunk's ending, the affairs-great-as-a-mountain writing the central-plain-recovering affairs' greatness, the drunk-and-done writing the wine's dispelling and the drunken ending, exhausting the national affairs' helplessness — the affairs however great, and yet only the drunken ending. These two lines' deep meaning: the day-long-as-a-year and the affairs-great-as-a-mountain writing the idle life's length and the affairs' helplessness — the felt-only-in-leisure's exhaustion of the idle-longing (the day-long-as-a-year the living-as-years, the felt-only-in-leisure the leisure's feeling — precisely because the idle life has no affair, hence the days long as years), the drunk-and-done's exhaustion of the helplessness (the affairs-great-as-a-mountain, the drunk-and-done — precisely because the helpless, hence the wine's dispelling); and one layer deeper, the day-long-as-a-year and the affairs-great-as-a-mountain precisely Lu You's late-years portrait — the idle-longing's writing the idle-life grief (the will's non-fulfillment and the idle-living bitterness), the drunk-and-done's writing the affairs' helplessness (the central-plain recovery great as Mount Tai, and himself only the drunken ending), the day-long and affairs-great contrast, exhausting the idle-life grief and the affairs' helplessness — the felt-only-in-leisure's exhaustion of the grief's consciousness (the leisure, then the days' long the clearer), the drunk-and-done's exhaustion of the helpless dispelling (the helpless, only the drunken ending), the day-long-as-a-year and the affairs-great-as-a-mountain, exhausting Lu You's late-years will-unfulfilled depth. Writing the living-as-years through the day-long, the affairs' greatness through the mountain, the helpless dispelling through the drunk-and-done, precisely Lu You's autumn-writes-will craft, making these two lines a line through the ages.

欲舒老眼无高处，安得元龙百尺楼。

I would ease my old eyes, but there is no high place — how am I to get the hundred-foot tower of Yuan Long?

想舒展老眼眺望，却没有高处；哪里得到陈元龙那样的百尺高楼。

I would stretch my old eyes, but there is no high place; where can I find a Hundred-Foot Tower like Yuan Long's?

这两句是全诗的点睛之笔，也是千古名句，以「欲舒老眼无高处」写登高无处的无奈，以「安得元龙百尺楼」写高卧远望的壮志，深沉而豪壮。「欲舒老眼无高处」写登高无处的无奈——想舒展老眼眺望，却没有高处，「欲舒老眼」写想舒展老眼（那老眼昏花，想舒眼远望），「无高处」写没有高处（那没有可以登高远望的高处），那「欲舒老眼无高处」写尽登高无处的无奈——想远望，却没有高处；「安得元龙百尺楼」写高卧远望的壮志——哪里得到陈元龙那样的百尺高楼，「安得」写哪里得到（那「安得」写求之不得），「元龙百尺楼」写陈元龙那样的百尺高楼（那「元龙百尺楼」用陈登之典，写高卧百尺楼的豪气），那「安得元龙百尺楼」写尽高卧远望的壮志——想得到百尺高楼，登高远望。这两句的深意在于：它以「欲舒老眼无高处」与「安得元龙百尺楼」写出了登高无处的无奈与高卧远望的壮志——那「欲舒老眼无高处」写尽登高无处的无奈（老眼昏花，想远望却没有高处），那「安得元龙百尺楼」写尽高卧远望的壮志（想得到陈登那样的百尺高楼，登高远望）；而更深一层，那「安得元龙百尺楼」的用典，写尽陆游虽老而豪气不除的壮志——那陈登「湖海之士，豪气不除」，正是陆游的自况（那刘备「欲卧百尺楼上」的豪语，正是陆游的壮志），那「安得」写尽求之不得的感慨——想登高远望舒老眼，却无高处可得；而那「欲舒老眼」的「舒」，写尽陆游的渴望——老了，眼昏了，更想舒眼远望（望中原、望故国），那「欲舒老眼无高处，安得元龙百尺楼」写尽壮志难酬的执着——那百尺楼，正是陆游登高远望、极目中原的壮志所寄。以「欲舒老眼」写渴望、以「无高处」写无奈、以「安得元龙百尺楼」写壮志，正是陆游「以秋写志」的本领，也让这两句成为千古名句。

These two lines are the poem's telling stroke, and a line through the ages, writing the climb-nowhere helplessness through the would-stretch-old-eyes-and-yet-no-high-place, and the high-gazing will through the where-find-Yuan-Long's-Hundred-Foot-Tower, the depth and heroism together. I would stretch my old eyes, but there is no high place writes the climb-nowhere helplessness — wishing to stretch the old eyes and gaze, and yet no high place, the would-stretch-old-eyes writing the wishing (the old eyes dim, wishing the stretch-and-gaze), the no-high-place writing the absence (no place to climb and gaze), exhausting the climb-nowhere helplessness — wishing to gaze far, and yet no high place; where can I find a Hundred-Foot Tower like Yuan Long's? writes the high-gazing will — where to get Chen Deng's Hundred-Foot Tower, the where-can-I-find writing the seeking-and-not-getting, the Yuan-Long's-Hundred-Foot-Tower writing Chen Deng's Hundred-Foot Tower (using Chen Deng's allusion, writing the lying-on-the-hundred-foot-tower heroism), exhausting the high-gazing will — wishing to get the hundred-foot tower, climb and gaze. These two lines' deep meaning: the would-stretch-old-eyes-and-yet-no-high-place and the where-can-I-find-Yuan-Long's-Hundred-Foot-Tower writing the climb-nowhere helplessness and the high-gazing will — the would-stretch's exhaustion of the helplessness (the old eyes dim, wishing to gaze far and yet no high place), the where-can-I-find's exhaustion of the will (wishing to get Chen Deng's Hundred-Foot Tower, climb and gaze); and one layer deeper, the where-can-I-find-Yuan-Long's-Hundred-Foot-Tower allusion, exhausting Lu You's though-old-and-yet-the-heroism-unremoved will — Chen Deng's the lake-and-sea man, the heroism not removed, precisely Lu You's self-figure (Liu Bei's the wish to lie on the hundred-foot tower hero word, precisely Lu You's will), the where-can-I-find's exhaustion of the seeking-and-not-getting sigh — wishing to climb and gaze far and stretch the old eyes, and yet no high place to get; and the would-stretch-old-eyes' stretch, exhausting Lu You's longing — the old, the eyes dim, the more the wishing to stretch-and-gaze (gazing the central plain, the old country), the would-stretch-old-eyes-and-yet-no-high-place, where-can-I-find-Yuan-Long's-Hundred-Foot-Tower exhausting the will-unfulfilled clinging — the hundred-foot tower, precisely Lu You's climb-and-gaze and the central-plain-gazing will's lodging. Writing the longing through the would-stretch, the helplessness through the no-high-place, the will through the where-can-I-find, precisely Lu You's autumn-writes-will craft, making these two lines a line through the ages.

Study

Word focus

闲 'Leisure' — the idle state in which the long days seem years, the leisure of the retired official. 「闲」字是写闲居苦闷的关键字，一个「闲」字写尽闲居的漫长与苦闷，深沉而无奈。闲者，闲暇、闲居也。陆游以「日长似岁闲方觉」写闲居，一个「闲」字，至少有双重意味：其一，写闲居之漫长——「闲方觉」写闲下来才觉得，「闲」写闲暇——那「闲方觉」写闲下来才觉得日子漫长（那「闲」写闲暇——闲居无事，才觉得日长似岁），那「闲」字写尽闲居的漫长——那度日如年的漫长，正是闲居所致；其二，写闲居之苦闷——「闲」暗写闲居的苦闷——那「日长似岁闲方觉」的「闲」，写尽闲居的苦闷（那有志难酬、闲居度日的苦闷），那「闲」字写尽闲居的苦闷——不是「偷得浮生半日闲」的闲适，而是「闲居度日」的苦闷，那「闲」字写尽壮志难酬的苦闷。以「闲」写闲居，正是陆游炼字的本领：一个「闲」字，既是写闲居的漫长（闲下来才觉得日长似岁），也是写闲居的苦闷（有志难酬、闲居度日的苦闷），更是写「日长似岁」的根源（那度日如年，正因为「闲」——闲居无事，才觉日长）——那「闲」字，把闲居的漫长与苦闷融为一体。若换作「居」「坐」等字，则或失其「闲」的闲居意味，或失其「闲方觉」的自觉；唯「闲」字，以一字写尽闲居的漫长与苦闷，也让「日长似岁闲方觉」成为千古名句——那「闲」字，正是陆游闲居的苦闷。

安得 'How am I to get?' — the rhetorical longing of the close, the hero's need for the high tower. 「安得」二字是写壮志的关键字，以「安得」写求之不得的感慨，写尽高卧远望的壮志，深沉而豪壮。安得，哪里得到、怎得也。陆游以「安得元龙百尺楼」写壮志，一个「安得」，至少有双重意味：其一，写求之不得——「安得元龙百尺楼」写哪里得到百尺高楼，「安得」写哪里得到（那「安得」写求之不得——想得到却得不到），那「安得」写尽求之不得的感慨——那百尺楼，想得到却无所得；其二，写壮志之执着——「安得」暗写壮志的执着——那「安得元龙百尺楼」的「安得」，写尽壮志的执着（那「安得」虽写求之不得，却正是壮志的执着——正因为想要，才问「安得」），那「安得」写尽高卧远望的壮志——那「安得」的诘问，写尽陆游对百尺楼（登高远望）的渴望。以「安得」写壮志，正是陆游炼字的本领：那「安得」二字，既是写求之不得的感慨（想得到却得不到），也是写壮志的执着（正因为想要，才问安得），更是写「欲舒老眼」的渴望（那「安得元龙百尺楼」，正是想舒老眼远望的壮志）——那「安得」，把求之不得的感慨与壮志的执着融为一体。若换作「何处」「若有」等词，则或失其「安得」的诘问，或失其「求之不得」的感慨；唯「安得」二字，以两字写尽求之不得的感慨与壮志的执着，也让「安得元龙百尺楼」成为千古名句——那「安得」，正是陆游「高卧百尺楼」的壮志。

秋思