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唐 Tang · 诗 Poem

九日·重阳独酌

On the Double Ninth: Drinking Alone

杜甫

Du Fu

重阳独酌杯中酒，抱病起登江上台。
竹叶于人既无分，菊花从此不须开。
殊方日落玄猨哭，旧国霜前白雁来。
弟妹萧条各何往，干戈衰谢两相催。

On the Double Ninth I drink alone from my cup,
And, though ill, I rise to climb the terrace by the river.
Zhuye wine has no portion for me;
From now on the chrysanthemums need not bloom.
In this far-off land the sun sets and the black gibbons wail;
Before the frost, in my homeland, the white geese arrive.
My brothers and sisters are scattered in hardship — where has each of them gone?
War and my own decline alike press on.
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Meaning

Written when Du Fu was ill and exiled in the southwest, this poem turns the Double Ninth festival — a day for climbing heights, drinking wine, and loving one's family — into a record of absolute solitude. Too sick to drink, too scattered to gather, the poet looks from his river terrace toward a homeland he cannot reach, while war and his own failing body close in on him together. Beneath the festival's customary gaiety the poem discovers the deepest note of Du Fu's late poetry: grief that is at once private and historical.

重阳独酌杯中酒，抱病起登江上台。竹叶于人既无分，菊花从此不须开。殊方日落玄猨哭，旧国霜前白雁来。弟妹萧条各何往，干戈衰谢两相催。

Appreciation

[Plain Paraphrase] On the Double Ninth I drink alone from my cup; sick as I am, I get up and climb the terrace above the river. There is no bamboo-leaf wine for me, so let the chrysanthemums not bloom at all. In this far-off land the sun goes down and the black gibbons cry; before the frost the white geese come from my old country. My brothers and sisters are scattered in hardship — where has each of them gone? The war and my own failing strength press on together. [Structure] The regulated verse's four couplets map a widening circle of loss. The first couplet fixes the scene: festival, cup, illness, the climb — the customary joy turned inside out. The second couplet turns the festival's two symbols, wine and chrysanthemum, into refusals — a stroke of seemingly petulant logic that is among the most famous in Du Fu's late work. The third couplet opens space itself: the far-off land with its wailing gibbons, the old country with its frost and geese. The fourth couplet contracts to persons — scattered brothers and sisters — and then to the double force that crushes the poet: war and age. [Imagery] The images are all standard Double Ninth furniture — the cup, the chrysanthemum, the terrace, the geese — and all are drained of their customary comfort. The gibbons' wailing at sunset, the white geese arriving before the frost as bearers of letters from home, the chrysanthemums that need not bloom: every image of reunion and season is turned into an image of separation. The poem's power lies in this systematic inversion of the festival.

【白话串讲】 杜甫写《九日·重阳独酌》：“重阳独酌杯中酒，抱病起登江上台”——“竹叶于人既无分，菊花从此不须开”——“殊方日落玄猨哭，旧国霜前白雁来”——“弟妹萧条各何往，干戈衰谢两相催”——他重阳独酌——抱病起登江上台。 【意象与手法】 “重阳独酌杯中酒，抱病起登江上台”写抱病登台；“竹叶于人既无分，菊花从此不须开”写无酒怨菊；“殊方日落玄猨哭，旧国霜前白雁来”写殊方旧国；结以“弟妹萧条各何往，干戈衰谢两相催”写干戈衰谢。沉郁重阳。 【情感与主旨】 杜甫写重阳感怀之作，写抱病登台、独酌无酒与弟妹萧条、干戈衰谢的悲慨，是杜甫重阳诗中的名篇。 【名句点睛】 常考“重阳独酌杯中酒，抱病起登江上台”写抱病登台；“弟妹萧条各何往，干戈衰谢两相催”写干戈衰谢。

Background

Du Fu (712–770), courtesy name Zimei, is China's poet-historian, whose life spans the catastrophe of the An Lushan Rebellion and its long aftermath. This Double Ninth poem belongs to his years of exile in the southwest, when he was ill, poor, and cut off from his family — his brothers and sisters scattered by the wars that still raged — while the Tang state, shaken by Tibetan incursions and rebellions, tottered. The terrace above the river is the river-terrace of Kuizhou (modern Fengjie, Chongqing), where Du Fu spent some of his most productive and most sorrowful years. The Double Ninth Festival, the ninth day of the ninth month, was traditionally a day for climbing heights, drinking chrysanthemum wine, and thinking of home; Du Fu, ill and alone, could observe it only by inversion.

《九日·重阳独酌》为唐代诗人杜甫所作诗。杜甫（712—770），字子美，号少陵野老，巩县人，唐代诗人。此诗写重阳感怀，为九日之作。诗中「重阳独酌杯中酒，抱病起登江上台」写重阳独酌杯中酒，抱病起登江上台；「竹叶于人既无分，菊花从此不须开」写竹叶于人既无分，菊花从此不须开；「殊方日落玄猨哭，旧国霜前白雁来」写殊方日落玄猨哭，旧国霜前白雁来；「弟妹萧条各何往，干戈衰谢两相催」写弟妹萧条各何往，干戈衰谢两相催。杜甫此诗以重阳感怀、干戈衰谢两相催写其感怀之情，沉郁重阳，是杜甫诗中的名篇。此篇《九日·重阳独酌》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《九日·重阳独酌》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 supreme device is the logic of inversion — every custom of the Double Ninth turned into its opposite. The festival demands drinking wine; Du Fu is denied even his cup. The festival demands that the chrysanthemums bloom; Du Fu dismisses them — a line of apparently petulant, unreasonable grief that critics have praised as all the more moving for its unreason, the more powerful because it is spoken in the voice of a sick man's willfulness. The second master-stroke is the third couplet's opposition of the far-off land and the old country: sunset gibbons weeping in the alien land against white geese arriving before the frost in the homeland — two sounds, two directions, the poet caught in the silence between them. Finally the closing couplet compresses everything into a double sentence: war and my own decline alike press on — the public catastrophe of weapons and the private one of the failing body driven forward by the same verb, until history and the individual are crushed by one force. Dense, plain, and heavy, the poem is late Du Fu at his most characteristic.

此诗艺术上以「沉郁重阳、以酒写情」见长。全诗共八句四联，由重阳独酌杯中酒而竹叶于人既无分而殊方日落玄猨哭。起「重阳独酌杯中酒，抱病起登江上台」写重阳独酌杯中酒：重阳独酌杯中酒，抱病起登江上台；「竹叶于人既无分，菊花从此不须开」写竹叶于人既无分：竹叶于人既无分，菊花从此不须开；「殊方日落玄猨哭，旧国霜前白雁来」写殊方日落玄猨哭：殊方日落玄猨哭，旧国霜前白雁来；结「弟妹萧条各何往，干戈衰谢两相催」写干戈衰谢两相催：弟妹萧条各何往，干戈衰谢两相催。全诗以酒写情，由重阳独酌杯中酒而干戈衰谢两相催，沉郁重阳，是杜甫诗中的名篇。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。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

The poem's resonances are customary rather than literary. The Double Ninth, the ninth day of the ninth month, carried the customs of climbing heights, drinking chrysanthemum wine, and wearing dogwood — all originally charms against calamity, since the doubling of the yang number was thought to be dangerous and required counter-rites. Bamboo leaf is the green bamboo-leaf wine of the festival, here invoked only to be denied: 'no portion for me' is both literal poverty and illness and the bitter joke that the festival's comfort has no share in him. The white geese arriving before the frost carry the old belief that geese bear letters, so their coming from the old country should mean news from home — but the next line asks where the brothers and sisters have gone, so the geese arrive as a mockery of connection. The old country is the lost capital region; the far-off land is the southwest, the land of the gibbons whose cries were proverbial in Tang poetry for desolation. The chrysanthemum, flower of autumn and emblem of integrity and reclusion, is dismissed in a fit of grief — the inversion of a whole cultural symbol.

诗中「重阳独酌杯中酒抱病起登江上台」「竹叶于人既无分菊花从此不须开」「殊方日落玄猨哭旧国霜前白雁来」「弟妹萧条各何往干戈衰谢两相催」等语，皆含典故故实。「重阳独酌杯中酒抱病起登江上台」写重阳独酌杯中酒抱病起登江上台；「竹叶于人既无分菊花从此不须开」用竹叶之典（竹叶写酒名），写竹叶于人既无分菊花从此不须开；「殊方日落玄猨哭旧国霜前白雁来」写殊方日落玄猨哭旧国霜前白雁来；「弟妹萧条各何往干戈衰谢两相催」写弟妹萧条各何往干戈衰谢两相催。诗人用竹叶之典入诗，不着痕迹，而把重阳感怀之情写得真切可感，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。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

This poem is a peak of Du Fu's Double Ninth poems and one of the summits of late Tang regulated verse. Critics have singled out 'bamboo-leaf wine has no portion for me, from now on the chrysanthemums need not bloom' as the poem's soul — a stroke of unreasonable grief, the wine is denied so the flower must not bloom, that reads at first as a sick man's tantrum and then as the purest despair: if the festival cannot be what it should be, let it not exist. Commentators also praise the couplet of sunset gibbons and frost-borne geese for its perfect parallelism and its double perspective — the alien land's sound and the homeland's sign, the poet suspended between them. The closing line on war and decline has been read as a compendium of Du Fu's whole late world, where private decay and public catastrophe are the same event. In the history of festival poetry the poem stands as the great anti-festival poem: the Double Ninth observed in perfect solitude, and for that reason observed more truly than any celebration.

这首《九日·重阳独酌》，是杜甫写重阳感怀之作，写重阳独酌杯中酒、竹叶于人既无分、殊方日落玄猨哭、干戈衰谢两相催之情，沉郁重阳。起「重阳独酌杯中酒，抱病起登江上台」——重阳独酌杯中酒，抱病起登江上台。写重阳独酌杯中酒：重阳独酌杯中酒、抱病起登江上台——杯中酒、江上台；「竹叶于人既无分，菊花从此不须开」——竹叶于人既无分，菊花从此不须开。写竹叶于人既无分：竹叶于人既无分、菊花从此不须开——既无分、不须开；「殊方日落玄猨哭，旧国霜前白雁来」——殊方日落玄猨哭，旧国霜前白雁来。写殊方日落玄猨哭：殊方日落玄猨哭、旧国霜前白雁来——玄猨哭、白雁来；结「弟妹萧条各何往，干戈衰谢两相催」——弟妹萧条各何往，干戈衰谢两相催。写干戈衰谢两相催：弟妹萧条各何往、干戈衰谢两相催——各何往、两相催。这「弟妹萧条各何往，干戈衰谢两相催」，是全诗之结：以干戈衰谢两相催写其感怀。全诗沉郁重阳，以酒写情，正是杜甫诗中的名篇。

Prosody

Form Poem (seven-character regulated verse, qilü)诗（七言律诗）
Rhyme A seven-character regulated verse of eight lines and four couplets. The rhymes are the level-tone words 'terrace' (tai), 'bloom' (kai), 'arrive' (lai), and 'press' (cui) — the ai rhyme group — rhyming on lines 2, 4, 6, and 8. The middle couplets are strictly parallel: 'bamboo-leaf wine has no portion for me' answers 'from now on the chrysanthemums need not bloom,' and 'in this far-off land the sun sets and black gibbons wail' answers 'before the frost, in my homeland, the white geese arrive.'此诗为七言律诗，共八句四联。押韵：「台」「开」「来」「催」押灰部韵。平仄相间，对仗工整，正与写重阳感怀的沉郁重阳相称，也见其以律诗写感怀的凝练。
Tone pattern The tonal patterns follow the standard regulated form, level and oblique tones alternating line by line. The opening couplet moves slow and low — festival, cup, illness, the climb — each step weighed down; the second couplet turns sharp and clipped, the dismissals of wine and chrysanthemum falling like blows; the third couplet lengthens and deepens, sunset and frost opening two directions of space; the closing couplet sinks again, the final word 'press' landing with a heavy, unresolved stress, as if the weight it names never lifts.句式上，「重阳独酌杯中酒，抱病起登江上台」写重阳独酌杯中酒，音节沉郁；「竹叶于人既无分，菊花从此不须开」写竹叶于人既无分，音节低回；「殊方日落玄猨哭，旧国霜前白雁来」写殊方日落玄猨哭，音节悠长；结「弟妹萧条各何往，干戈衰谢两相催」写干戈衰谢两相催，音节沉郁。全诗音节随情起伏，由沉郁而低回、由悠长而沉郁，正合律诗「凝练」之妙，读来如重阳感怀、干戈衰谢两相催之音，沉郁而动人。
Reading note The poem's music is the sound of grief held down. The even, level-tone rhymes never break the surface calm, and the strict parallelism of the middle couplets gives the poem a formal composure that the content is constantly straining against — the control of the form makes the pain inside it more credible. The first couplet's slow, dragging measure imitates the sick man's climb; the second couplet's blunt parallelism lands like refusal after refusal; the third couplet opens wide with its double vista of sunset gibbons and frost-borne geese, the pace widening like the space it describes; and the closing couplet contracts to a single driving stress — war and decline alike press on — the final rhyme closing the poem like a gate that will not open again. Sound and feeling coincide: the regulated verse's symmetry becomes the containment of grief, and the heaviness of the closing rhyme is the weight of history and age falling together.此诗为七言律诗，是杜甫写重阳感怀之作，也是其诗中的名篇。全诗的艺术特色在于「沉郁重阳、以酒写情」：「重阳独酌杯中酒，抱病起登江上台」写重阳独酌杯中酒、「竹叶于人既无分，菊花从此不须开」写竹叶于人既无分、「殊方日落玄猨哭，旧国霜前白雁来」写殊方日落玄猨哭、「弟妹萧条各何往，干戈衰谢两相催」写干戈衰谢两相催。全诗沉郁重阳，以酒写情。尤为精妙者，是「竹叶于人既无分」用竹叶之典；而「干戈衰谢两相催」写尽两相催，正是杜甫诗「沉郁重阳」的典范，为历代选本所常收。《九日·重阳独酌》一诗之所以读来声情并茂，正在于诗人以声韵配合情思、以节奏烘托意境，音节之长短、平仄之起伏，皆与诗意相为表里，此亦可见中国古典诗歌声律之美与匠心之工。

Line by line

重阳独酌杯中酒，抱病起登江上台。

On the Double Ninth I drink alone from my cup, and, though ill, I rise to climb the terrace by the river.

重阳独酌杯中酒，抱病起登江上台。

On the Double Ninth I drink alone from my cup; risen from my sickness, I climb the riverside terrace.

起句写重阳独酌杯中酒，起笔即见其杯中酒。「重阳独酌杯中酒」写重阳独酌杯中酒，「重阳独酌」写重阳独酌、「杯中酒」写杯中酒；「抱病起登江上台」写抱病起登江上台，「抱病起登」写抱病起登、「江上台」写江上台。一句写重阳独酌杯中酒抱病起登江上台，以重阳独酌杯中酒写杯中酒、以抱病起登江上台写江上台，写尽重阳独酌杯中酒、抱病起登江上台之情。以酒起兴，沉郁而重阳，是「以酒起兴」的妙笔。

The opening line writes drinking alone on the Double Ninth, the start. 'On the Double Ninth I drink alone from my cup' — the festival wine; 'risen from my sickness, I climb the riverside terrace' — ill yet rising to climb. Rising through wine, depressed and festive, the start of the autumn holiday scene.

竹叶于人既无分，菊花从此不须开。

Bamboo-leaf wine has no portion for me; from now on the chrysanthemums need not bloom.

竹叶于人既无分，菊花从此不须开。

Bamboo-leaf wine is not for my lot; from now on, chrysanthemums need not bloom.

此句写竹叶于人既无分，是全诗写竹叶之态的关键。「竹叶于人既无分」用竹叶之典写竹叶于人既无分，「竹叶」写竹叶、「于人既无分」写于人既无分；「菊花从此不须开」写菊花从此不须开，「菊花从此」写菊花从此、「不须开」写不须开。一句写竹叶于人既无分菊花从此不须开，以竹叶于人既无分写既无分、以菊花从此不须开写不须开，写尽竹叶于人既无分、菊花从此不须开之情。以叶写情，沉郁而重阳，是「以叶写情」的点睛之笔。

This line writes that bamboo-leaf wine is not for his lot, the key image. It alludes to Bamboo-leaf, the famed wine; 'from now on, chrysanthemums need not bloom' — the festival flower he can no longer enjoy. Through the leaf it writes the feeling, depressed and festive, the bitterness of the exile who would grudge the chrysanthemum its bloom.

殊方日落玄猨哭，旧国霜前白雁来。

In this far-off land the sun sets and the black gibbons wail; before the frost, in my homeland, the white geese arrive.

殊方日落玄猨哭，旧国霜前白雁来。

In a far land, at sunset, black apes wail; before the frost of my old home, white geese arrive.

此句写殊方日落玄猨哭，是全诗写玄猨之态的关键。「殊方日落玄猨哭」写殊方日落玄猨哭，「殊方日落」写殊方日落、「玄猨哭」写玄猨哭；「旧国霜前白雁来」写旧国霜前白雁来，「旧国霜前」写旧国霜前、「白雁来」写白雁来。一句写殊方日落玄猨哭旧国霜前白雁来，以殊方日落玄猨哭写玄猨哭、以旧国霜前白雁来写白雁来，写尽殊方日落玄猨哭、旧国霜前白雁来之情。以猨写景，沉郁而重阳，是「以猨写景」的点睛之笔。

This line writes black apes wailing at sunset in a far land, the key image. 'In a far land, at sunset, black apes wail' — the southern exile's dusk; 'before the frost of my old home, white geese arrive' — the northern geese carrying thoughts of home. Through the ape it writes the scene, depressed and festive, the far land's grief set against the homeward geese.

弟妹萧条各何往，干戈衰谢两相催。

My brothers and sisters are scattered in hardship — where has each of them gone? War and my own decline alike press on.

弟妹萧条各何往，干戈衰谢两相催。

Scattered, my younger brothers — where have each gone? War and decay press on me together.

结句写干戈衰谢两相催，是全诗立意的落点。「弟妹萧条各何往」写弟妹萧条各何往，「弟妹萧条」写弟妹萧条、「各何往」写各何往；「干戈衰谢两相催」写干戈衰谢两相催，「干戈衰谢」写干戈衰谢、「两相催」写两相催。一句写弟妹萧条各何往干戈衰谢两相催，以弟妹萧条各何往写各何往、以干戈衰谢两相催写两相催，写尽弟妹萧条各何往、干戈衰谢两相催之情。以戈写情，沉郁而重阳，是全诗最动人处，也是「以戈写情」的点睛之笔。

The closing line writes war and decay pressing together, the poem's landing. 'Scattered, my younger brothers — where have each gone?' — the kin dispersed; 'war and decay press on me together' — warring age and failing health urging each other on. Through the arms it writes the feeling, depressed and festive, the poem's most moving point: the brothers scattered, the realm at war, the body failing, all pressing on the sick old man at once.

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Word focus

重阳 'Double Ninth' — the ninth day of the ninth month, when the yang number doubles; traditionally a day for climbing heights, drinking chrysanthemum wine, and thinking of home, with charms against calamity. In the poem the festival name opens a record of its exact inversion: no wine, no company, no height that helps. 「重阳」写重阳独酌杯中酒，是写重阳之态的关键。「重阳独酌杯中酒」着一「重阳」，写重阳——着一「重阳」，写重阳独酌杯中酒，见其阳之重。两字写尽重阳之态，是「以词写阳」的妙笔。「重阳」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。
竹叶 'Bamboo leaf' — short for bamboo-leaf wine, the green wine customary at the Double Ninth, named for its bamboo-green color. 'No portion for me' is at once literal, illness and poverty, and the bitter joke that the festival's comfort has no share in the poet; a whole culture of festival reunion is denied in two words. 「竹叶」写竹叶于人既无分，是写竹叶之态的关键。「竹叶于人既无分」着一「竹叶」，写竹叶——着一「竹叶」，写竹叶于人既无分，见其叶之竹。两字写尽竹叶之态，是「以词写叶」的点睛之词。「竹叶」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。
玄猨 'Black gibbon' — the gibbon whose cries were proverbial in Tang poetry for the desolation of the far southwest. Weeping at sunset in the alien land, it makes the landscape itself mourn; the sound of the gibbons is the sound of exile. 「玄猨」写殊方日落玄猨哭，是写玄猨之态的关键。「殊方日落玄猨哭」着一「玄猨」，写玄猨——着一「玄猨」，写殊方日落玄猨哭，见其猨之玄。两字写尽玄猨之态，是「以词写猨」的点睛之词。「玄猨」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。
干戈 'Shield and dagger-axe' — weapons, hence war. In the closing line, war, the public catastrophe, and decline, the private decay, are driven forward by the same verb 'press': the two forces that crush the late Du Fu, one in the world and one in the body, one and the same weight. 「干戈」写干戈衰谢两相催，是写干戈之态的关键。「干戈衰谢两相催」着一「干戈」，写干戈——着一「干戈」，写干戈衰谢两相催，见其戈之干。两字写尽干戈之态，是「以词写戈」的点睛之词。「干戈」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 Prelude to Water Melody (How Long Will the Full Moon Shine) 苏轼 · 同写重阳感怀、沉郁旷达，一写人有悲欢离合、一写重阳独酌杯中酒抱病起登江上台，皆于重阳之中见沉郁 Both are festival poems that rise from festival feeling to philosophical elevation: Su Shi's line on men's sorrow and joy, parting and meeting against Du Fu's closing line on war and decline — both write the festival in terms of parting.

Su Shi's Mid-Autumn lyric is the most famous Chinese poem on a festival and on parting — men have sorrow and joy, parting and meeting, as the moon has its dark and clear, and this has been hard to perfect since antiquity — rising from the wine cup to a philosophical acceptance that ends in a blessing: may we long share this beauty though a thousand miles apart. Du Fu's Double Ninth poem is the festival's other pole: no acceptance, no blessing — the cup is denied, the chrysanthemum dismissed, the family scattered, and the poem closes with war and failing age pressing on together. Su Shi's parting is illuminated by philosophy; Du Fu's is crushed by history. Both write the festival custom of thinking of those far away, and together they define the two temperaments of Chinese festival poetry — the open-hearted and the broken-hearted.

苏轼《水调歌头·明月几时有》「人有悲欢离合，月有阴晴圆缺，此事古难全」，写重阳感怀、沉郁旷达，是宋词长调的名篇；杜甫《九日·重阳独酌》则以「重阳独酌杯中酒，抱病起登江上台」「干戈衰谢两相催」写江上台、两相催。两诗同写重阳感怀、沉郁旷达：一写人有悲欢离合、以悲欢写离合，一写重阳独酌杯中酒抱病起登江上台、以杯中酒写感怀；一为苏轼之旷达、一为杜甫之沉郁，并读正可见诗写「重阳感怀」的两种笔法，皆于重阳之中见沉郁。

 八声甘州·对潇潇暮雨洒江天 Eight Beats of Ganzhou Song (Facing the Dusk Rain Spilling over the Sky) 柳永 · 同写江台凝望、沉郁清丽，一写对潇潇暮雨洒江天、一写重阳独酌杯中酒抱病起登江上台，皆于江台之中见凝望 Both gaze from a height into the distance with heavy sorrow: Liu Yong's dusk rain washing the clear autumn against Du Fu's sunset and wailing gibbons in the far-off land — both write the autumn dusk from a high place.

Liu Yong's lyric climbs too — mounting the tower-rail as the fading chrysanthemums and withering willows give way to the roamer's gaze — and like Du Fu turns the autumn landscape toward home, asking what season it is now in his homeland and who is there. Du Fu, from his river terrace, likewise turns to the old country with its frost and white geese. The difference: Liu Yong's sorrow is the traveler's refined melancholy, drawn in bright, flowing colors; Du Fu's is the exile's and the historian's grief, recorded in hard, plain strokes that end in war and bodily decline. Both are masters of autumn ascent — one singing the wanderer's homesickness, the other the weight of a ruined world.

柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天，一番洗清秋」，写江台凝望、沉郁清丽，是宋词写羁旅的名篇；杜甫《九日·重阳独酌》则以「重阳独酌杯中酒，抱病起登江上台」「殊方日落玄猨哭」写江上台、玄猨哭。两诗同写江台凝望、沉郁清丽：一写对潇潇暮雨洒江天、以暮雨写清秋，一写重阳独酌杯中酒抱病起登江上台、以杯中酒写感怀；一为柳永之清丽、一为杜甫之沉郁，并读正可见诗写「江台凝望」的两种笔法，皆于江台之中见凝望。