唐 Tang · 诗 Poem
秋兴八首·其二
Autumn Meditations, Eight Poems: No. 2
夔府孤城落日斜，每依北斗望京华。
听猿实下三声泪，奉使虚随八月槎。
画省香炉违伏枕，山楼粉堞隐悲笳。
请看石上藤萝月，已映洲前芦荻花。
Hearing the apes, truly I shed tears at their threefold cry; in vain I follow the eighth-month raft on my mission.
The painted ministry's incense brazier I left for my sickbed; the hill tower's white ramparts hide a mournful horn.
Behold the moon on the rocks and wisteria—already it shines on the reeds and rushes before the islet.
Meaning
At Kuizhou's lonely walled town the sun slants down; nightly I lean on the Northern Dipper to gaze toward Chang'an. Hearing the apes, I truly shed tears at their threefold cry; my hope of a mission home follows in vain the eighth-month raft. Sick in bed, I am parted from the ministry's incense brazier; from the hill tower, white ramparts hide a sorrowful horn. Behold the moon over the rocks and wisteria—already it shines on the reeds before the islet.
夔州孤城之上，夕阳西斜；我常常依着北斗，遥望京城长安。听到猿啼，真的流下三声泪；奉使出使的愿望，却像八月随槎一样虚浮无凭。身在病中，违离了尚书省的供职；山楼粉堞之间，隐隐藏着悲凉的笳声。请看石上藤萝的月光，已经映照到洲前的芦荻花上。
Appreciation
The second of Du Fu's 'Autumn Meditations,' this poem writes the autumn-night longing for Chang'an from his exile in Kuizhou, a model of the Master's 'grave and modulated' (沉郁顿挫) style. The opening couplet sets the lonely town, the slanting sun, and the nightly gaze toward the capital by the Dipper—a famous line. The second couplet uses the 'water classic' ape-cry allusion and the 'eighth-month raft' (Zhang Qian) allusion, real and imagined, to write tears and a vain hope. The third couplet writes sickness parted from court and a hidden mournful horn; the closing couplet lets the moonlight move to the reeds, deepening the night and the sorrow. The whole is tightly structured around 'gazing toward the capital,' grave and modulated.
【白话串讲】 杜甫写《秋兴八首·其二》：“夔府孤城落日斜，每依北斗望京华”——“听猿实下三声泪，奉使虚随八月槎”——“画省香炉违伏枕，山楼粉堞隐悲笳”——“请看石上藤萝月，已映洲前芦荻花”——他在夔州望长安。 【意象与手法】 此诗是杜甫《秋兴八首》的第二首，写夔州秋夜望京华而思归不得的愁怀，是「诗圣」沉郁顿挫诗风的典范。首联「夔府孤城落日斜，每依北斗望京华」写夔州孤城、落日西斜、依北斗而望长安——「每依北斗望京华」以北斗指长安，写日日夜夜望京华而不得归，是千古名句；颔联「听猿实下三声泪，奉使虚随八月槎」写闻猿落泪、奉使成虚——「听猿」用《水经注》「巴东三峡巫峡长，猿鸣三声泪沾裳」之典，「八月槎」用张骞乘槎天河之典，一实一虚，是千古名句；颈联「画省香炉违伏枕，山楼粉堞隐悲笳」写病中违离朝署、山楼悲笳——「画省」指尚书省，杜甫曾为左拾遗（属门下省，此处言其职守）；「粉堞」写城上女墙，笳声隐悲；尾联「请看石上藤萝月，已映洲前芦荻花」以月光移照芦荻写夜之渐深、愁之愈深。全诗以「望京华」为纲，以落日、北斗、猿声、槎、笳、月、芦荻写秋夜的苍凉与思归的深愁，章法严密，沉郁顿挫。 【情感与主旨】 此诗作于唐代宗大历元年（766）秋，时杜甫流寓夔州。杜甫于乾元二年（759）弃官入蜀，此后漂泊西南，大历元年春移居夔州，此时距长安沦陷（安史之乱）已十余年，杜甫身老多病，思归不得。《秋兴八首》写夔州秋日因秋而感兴，寄托故国之思。此首写夔州孤城秋夜，依北斗而望长安——那「夔府孤城落日斜」写夔州的偏僻与孤寂，那「每依北斗望京华」写日夜望长安而不得归的深愁，那「听猿实下三声泪」写闻猿落泪的悲怀，那「奉使虚随八月槎」写报国无门的感慨，那「画省香炉违伏枕」写身病不能供职的遗憾，那「山楼粉堞隐悲笳」写战乱未平的忧虑，那「请看石上藤萝月，已映洲前芦荻花」写秋夜的渐深与愁思的绵长。全诗以「望京华」为情感主线，写尽身老多病、思归不得、忧国忧民的多重愁怀，是杜甫「诗圣」沉郁顿挫诗风与「每饭不忘君」爱国精神的集中体现。 【名句点睛】 常考“夔府孤城落日斜，每依北斗望京华”写夜夜依北斗望京华而不得归，是千古名句；“听猿实下三声泪，奉使虚随八月槎”一实一虚写尽悲怀。
Background
This poem was written in the autumn of the first year of Dali (766), the second of Du Fu's 'Autumn Meditations.' Du Fu abandoned office and entered Shu in 759, then drifted through the southwest; in spring 766 he moved to Kuizhou (present Fengjie, Chongqing). Though the An Lushan Rebellion (755–763) had ended, the realm was still unsettled by regional warlords and Tibetan incursions; Du Fu, old and ailing at fifty-five, longed for his homeland (Gongxian, Henan) but could not return, and in the Kuizhou autumn wrote the eight 'Autumn Meditations,' moved by autumn to express his longing for the lost capital. This is the second. 'The lonely walled town of Kuizhou, the setting sun slants' writes Kuizhou's lonely town at sunset; 'each night I lean on the Northern Dipper to gaze toward the capital'—the Dipper is in the north, as is Chang'an north of Kuizhou, hence the Dipper points to Chang'an, writing the unceasing gaze; 'hearing the apes, truly I shed tears at their threefold cry' uses the 'Water Classic' ('long the Wu Gorge of the Three Gorges, at the ape's three cries the tears wet the robe'); 'in vain I follow the eighth-month raft' uses Zhang Qian's raft-to-the-milky-way allusion, writing the vain hope of a mission home; 'the painted ministry's incense brazier I left for my sickbed'—the painted ministry is the Secretariat (whose walls were painted with worthies), the incense brazier the duty of the secretary, left because of sickness; 'the hill tower's white ramparts hide a mournful horn'—the horn, a barbarian instrument, hints at ongoing war; 'behold the moon on the rocks and wisteria, already it shines on the reeds' writes the deepening night. The whole is governed by 'gazing toward the capital,' writing autumn-night desolation and deep homesickness.
此诗作于唐代宗大历元年（766）秋，是杜甫《秋兴八首》的第二首。杜甫于乾元二年（759）弃官入蜀，此后漂泊西南，先后流寓成都、梓州、阆州、云安等地，大历元年春移居夔州（今重庆奉节）。此时安史之乱（755—763）虽已平息，但藩镇割据、吐蕃入寇，国家仍不安定；杜甫亦身老多病（时年五十五岁），思归故里（河南巩县）而不得，遂于夔州秋日写下《秋兴八首》，因秋而感兴，寄托故国之思。此首为八首之二。诗中「夔府孤城落日斜」写夔州（夔州府治所在奉节）的孤城落日；「每依北斗望京华」写依北斗而望长安——北斗星在北方，长安亦在夔州之北，故以北斗指长安，写日夜望京华而不得归；「听猿实下三声泪」用《水经注》「巴东三峡巫峡长，猿鸣三声泪沾裳」之典，写闻猿落泪；「奉使虚随八月槎」用张骞乘槎（八月槎）上天河之典，写奉使出使的愿望成虚——杜甫本望能出使回京，然终成虚愿；「画省香炉违伏枕」写画省（尚书省，汉尚书省以胡粉涂壁，故称画省）香炉（尚书郎入直时侍女执香炉焚香）之职，因身病伏枕而违离；「山楼粉堞隐悲笳」写山楼城堞之间隐约的悲笳声（笳为胡乐，暗示战乱）；「请看石上藤萝月，已映洲前芦荻花」写月光移照，夜之渐深。全诗以望京华为纲，写秋夜的苍凉与思归的深愁。
Art
The art can be read on four levels. First, the structure governed by 'gaze toward the capital': the opening states it, and the next three couplets all unfold from it—apes, mission, ministry, horn, wisteria moon, reed flowers—all write the sorrow of gazing yet not returning, rigorous and single-minded. Second, the interweaving of real and imagined scenes: 'hearing the apes, truly I shed tears' is real (Three Gorges ape-cry), 'in vain I follow the eighth-month raft' is imagined (raft to the milky way), real and imagined writing the sorrow of reality and the vanity of hope—a famous couplet. Third, apt allusion: 'hearing the apes' from the 'Water Classic,' 'eighth-month raft' from Zhang Qian, both fitting and deep, seamless. Fourth, the long resonance of a scenic close: the closing 'behold the moon on the rocks and wisteria, already it shines on the reeds' uses the moon's moving light to write the deepening night and lengthening sorrow, ending in scene without saying sorrow, yet sorrow deepens—lingering. These four layers build in steps, making this the most tightly structured and deeply felt of the eight, a model of Du Fu's grave, modulated style, ever praised by critics.
此诗的艺术特色可从四个层面解析。其一，以「望京华」为纲的章法。全诗首联点出「每依北斗望京华」，后三联皆由此展开——听猿、奉使、画省、悲笳、藤萝月、芦荻花，皆写望京华而不得归的愁怀，章法严密，一意贯串。其二，实景与虚境的交织。「听猿实下三声泪」是实景（三峡猿啼），「奉使虚随八月槎」是虚境（乘槎天河之想），一实一虚，写尽现实的悲苦与愿望的虚妄，是千古名句。其三，用典的贴切。「听猿」用《水经注》猿鸣三声泪沾裳，「八月槎」用张骞乘槎天河，皆贴切而深婉，不露痕迹。其四，以景作结的绵长。尾联「请看石上藤萝月，已映洲前芦荻花」以月光移照芦荻写夜之渐深、愁之愈长，以景语收束，不言愁而愁自深，余韵悠长。四重手法层层递进、环环相扣，使此诗成为《秋兴八首》中章法最严密、情感最深挚的一首，也是杜甫沉郁顿挫诗风的典范，历来为评家所称道，被推为七律怀归之作的上品。
Allusions
The poem's allusions are rooted in geography, myth, and official tradition. 'The lonely walled town of Kuizhou, the setting sun slants'—Kuizhou by the Three Gorges, 'lonely town' and 'setting sun' write the borderland's desolation, recalling Wang Wei's 'vast desert, one straight smoke, long river, one round sun.' 'Each night I lean on the Northern Dipper to gaze toward the capital'—the Dipper in the north, Chang'an also north, hence the Dipper points to Chang'an, recalling the sky-sign tradition 'when the Dipper's handle points east, all the world is spring' and the longing 'Chang'an unseen brings sorrow.' 'Hearing the apes, truly I shed tears' uses the 'Water Classic' ('long the Wu Gorge, at the ape's three cries the tears wet the robe'). 'In vain I follow the eighth-month raft' uses Zhang Qian's raft allusion—he rode a raft up the river to the milky way and met the Weaver; 'eighth-month raft' is this, Du Fu writing his mission hope as vain as riding the raft to heaven. 'The painted ministry's incense brazier'—the painted ministry is the Secretariat (walls painted with worthies), the incense brazier the secretary's duty of burning incense, recalling the court tradition. 'The hill tower's white ramparts hide a mournful horn'—the horn a barbarian instrument, 'mournful horn' recalling Li Ling's 'barbarian pipes answering, herd-boys' horses mournfully neighing,' hinting war not yet ended. The whole melts the 'Water Classic,' Zhang Qian's raft, the Secretariat, and border horns into scene and thought—Du Fu's 'not a word without a source' yet deeply tender.
此诗的用典深植于地理、神话与职官传统。「夔府孤城落日斜」写夔州孤城——夔州在长江三峡之畔，「孤城」「落日」写尽边地的苍凉，令人想到「大漠孤烟直，长河落日圆」（王维《使至塞上》）的落日意象；「每依北斗望京华」写望长安——北斗在北方，长安亦在北方，以北斗指长安，令人想到「斗柄东指，天下皆春」的天象传统与「长安不见使人愁」的望京情怀；「听猿实下三声泪」用《水经注》之典——「巴东三峡巫峡长，猿鸣三声泪沾裳」，那「三声泪」写尽三峡猿啼的悲凉；「奉使虚随八月槎」用张骞乘槎之典——相传张骞乘槎（木筏）溯河而上，至天河见织女，「八月槎」即此，杜甫以「虚随八月槎」写奉使出使的愿望如乘槎上天般虚妄，令人想到「乘槎」的仙话与「虚随」的怅惘；「画省香炉违伏枕」写尚书省——画省指尚书省（汉省中以胡粉涂壁画古烈士像，故称画省），香炉指尚书郎入直时的焚香之制，令人想到「香炉」的朝署传统；「山楼粉堞隐悲笳」写悲笳——笳是胡乐，「悲笳」令人想到「胡笳互动，牧马悲鸣」（李陵《答苏武书》）的边塞悲音，暗示战乱未平。全诗化用《水经注》、张骞乘槎、尚书省职官与边塞笳声的典故，以实景写虚想，正是杜甫「无一字无来处」而情思深婉的本领。
Commentary
This poem has long been praised as a famous piece of Du Fu's 'Autumn Meditations' and a model of his 'grave and modulated' style. Critics rate it highly: a Qing reader said 'among the eight, this shows most keenly the urgency of returning home'; a modern scholar notes 'each night I lean on the Northern Dipper to gaze toward the capital' and the real-imagined couplet embody perfectly the Master's grave modulation. Its special value lies in being governed by 'gaze toward the capital,' writing the deep sorrow of Du Fu's late southwest exile—the loneliness of 'the lonely walled town,' the insistence of 'gaze toward the capital,' the grief of 'tears at the threefold cry,' the vanity of 'in vain the eighth-month raft,' the regret of 'left for my sickbed,' the state-concern of 'hide a mournful horn'—all the deepest home-and-state longing of this poet who 'never forgot his ruler at any meal.' 'Each night I lean on the Northern Dipper to gaze toward the capital' and 'hearing the apes… in vain I follow the eighth-month raft' are perennial famous lines. With No. 1 ('jade dew withers the maple grove') it opens the set, No. 1 writing the bleak autumn scene, No. 2 the deep capital-longing, together setting the 'moved by autumn, longing for the lost capital' tone. For today's readers it is a window into Du Fu's grave style and his 'never forget the ruler' spirit, a classic of Chinese autumn-longing and state-longing poetry.
此诗历来被推为杜甫《秋兴八首》中的名篇，也是其「沉郁顿挫」诗风的典范。历代论者对此诗评价极高：清人评此诗「八首之中，此首最见思归之切」；近人更指出「每依北斗望京华」写日夜望京华而不得归，「听猿实下三声泪，奉使虚随八月槎」以实景虚境写尽现实与愿望的反差，是「诗圣」沉郁顿挫的绝佳体现。在文学史上，此诗的特殊价值在于：它以「望京华」为纲，写尽了杜甫晚年漂泊西南时思归不得、报国无门的深愁——那「夔府孤城落日斜」的孤寂，那「每依北斗望京华」的执著，那「听猿实下三声泪」的悲苦，那「奉使虚随八月槎」的虚妄，那「画省香炉违伏枕」的遗憾，那「山楼粉堞隐悲笳」的忧国，都写尽了这位「每饭不忘君」的诗人最深沉的家国之思。诗中「每依北斗望京华」「听猿实下三声泪，奉使虚随八月槎」都是千古名句。此诗与其一（「玉露凋伤枫树林」）同为《秋兴八首》开篇之作，其一写夔州秋景的萧森，其二写望京华的深愁，共同奠定了八首「因秋感兴、故国之思」的基调。对于今日读者，此诗是理解杜甫「沉郁顿挫」诗风与「每饭不忘君」精神的窗口，也是中国诗歌写秋思与故国之思的经典。
Prosody
Line by line
每依北斗望京华。
Each night I lean on the Northern Dipper to gaze toward the capital. (The emotional main line of the whole and a famous line, using the Dipper to point to Chang'an, writing the deep sorrow of gazing toward the capital yet not returning. The Dipper is in the north, as is Chang'an north of Kuizhou, hence it points the way; the word 'each' writes the constancy—not once but every night he leans on the Dipper to gaze, the persistence of day and night; 'gaze toward the capital' is the place his soul clings to—old ruler, unfulfilled ambition. The line is both geographic direction and symbolic yearning for the lost state.)
我常常依着北斗星，遥望京城长安。
I always lean on the Northern Dipper to gaze toward the capital.
这句是全诗的情感主线，也是千古名句，以北斗指长安，写日夜望京华而不得归的深愁。「每依北斗望京华」写依北斗而望长安——北斗星在北方，长安亦在夔州之北，故以北斗指长安；那「每」字写「常常」「每次」——不是偶尔望一次，而是每次望见北斗便依之遥望京华，写尽日夜望长安的执著；那「望京华」写遥望京城——京华是杜甫魂牵梦萦之地，那里有故国、有旧君、有他未能实现的抱负。这句的深意在于：它以「每依北斗」写望长安的动作与方向——夔州偏远，长安在千里之外的北方，诗人只能借着北斗星来确定方向，遥遥地望；那「每」字写尽日复一日、夜复一夜的执著，望而不得、望而愈愁；那「京华」既是地理的长安，也是杜甫心中故国的象征——望京华即是望故国，即是望那未竟的抱负。以「北斗」指方向、以「每」写执著、以「望京华」写深愁，正是杜甫「沉郁顿挫」的本领，也让这句成为写思归望乡的千古名句。
This line is the emotional mainthread of the poem, and a famous line through the ages, using the Dipper to point at Chang'an, writing the deep grief of gazing day and night at the capital and unable to return. 'I always lean on the Northern Dipper to gaze toward the capital' — leaning on the Dipper to gaze at Chang'an: the Dipper is in the north, and Chang'an is also north of Kuizhou, hence the Dipper stands for Chang'an; the word 'always' writes 'often', 'every time' — not an occasional gaze, but every time he sees the Dipper he leans on it and gazes, writing to the full the day and night fixation on Chang'an; 'gaze toward the capital' — the capital is the place Du Fu's heart and soul cling to, the old homeland, the old prince, the ambition he could not fulfill. The depth: 'always lean on the Dipper' writes the action and direction of gazing at Chang'an — Kuizhou remote, Chang'an a thousand li to the north, the poet can only use the Dipper to fix the direction, gazing from afar; the 'always' writes the day after day, night after night of fixation, gazing and not reaching, gazing and the grief the deeper; the 'capital' is both the geographic Chang'an and the symbol of Du Fu's homeland — gazing at the capital is gazing at the homeland, gazing at the unfulfilled ambition. Pointing the direction through the Dipper, writing the fixation through 'always', the deep grief through 'gaze toward the capital', the craft of Du Fu's 'deep and turned', the reason this line became a famous line of longing and homesickness.
听猿实下三声泪，奉使虚随八月槎。
Hearing the apes, truly I shed tears at their threefold cry; in vain I follow the eighth-month raft on my mission. (A famous line writing the contrast of reality and hope, real and imagined, the sorrow of reality and the vanity of wish. 'Hearing the apes' uses the 'Water Classic' three-cry allusion—the Gorges apes are already mournful, and the poet truly weeps, 'truly shed' emphasizing the real tears. 'In vain I follow the eighth-month raft' uses Zhang Qian's raft allusion—he hoped to go on a mission home like riding the raft to heaven, but it came to nothing, 'in vain follow' writing the vanity. The contrast of 'real' and 'vain' writes reality's grief and hope's emptiness—the tears are real because the return is vain.)
听到猿啼，真的流下三声泪；奉使出使的愿望，却像八月随槎一样虚浮无凭。
Hearing the apes, I indeed shed three cries of tears; sent on my mission, I vainly followed the August raft.
这句是写现实与愿望反差的名句，也是千古名句，以实景与虚境的对举，写尽现实的悲苦与愿望的虚妄。「听猿实下三声泪」写闻猿落泪——那「听猿」用《水经注》「巴东三峡巫峡长，猿鸣三声泪沾裳」之典，三峡猿啼本就悲凉，诗人听之而真真切切地落下泪来，「实下」二字写尽泪的真实——不是想象中的泪，而是真流下的泪；「奉使虚随八月槎」写奉使出使的愿望成虚——那「八月槎」用张骞乘槎上天河之典，诗人本想奉使回京（如乘槎上天），却终成虚愿，「虚随」二字写尽愿望的虚妄——那回京的愿望，如乘槎上天般遥不可及。这句的深意在于：它以「实」与「虚」的对照，写出了现实与愿望的反差——闻猿落泪是实（现实的悲苦），奉使回京是虚（愿望的虚妄）；那「实下三声泪」的悲，正是因「虚随八月槎」的妄——正因回京无望，故闻猿而泪下。以「实」写悲、以「虚」写妄，正是杜甫「沉郁顿挫」的本领，也让这句成为写现实与愿望反差的千古名句。
This line is a famous line of the contrast between reality and wish, writing the grief of reality and the vanity of wish through the pairing of the real scene and the unreal realm. 'Hearing the apes, I indeed shed three cries of tears' — hearing the apes and shedding tears: the 'hearing the apes' uses the allusion from the Commentary on the Waterways Classic, 'the gorges of Ba Dong and Wu are long, three cries of the apes and tears wet the robes'; the gorges' ape-cry is desolate of itself, and the poet, hearing it, truly sheds tears, the words 'indeed shed' writing the reality of the tears — not imagined tears, but tears really flowing. 'Sent on my mission, I vainly followed the August raft' — the wish to be sent back to the capital turns vain: the 'August raft' uses the allusion to Zhang Qian riding the raft up to the Silver River; the poet wished to be sent back to the capital (as if riding the raft up to heaven), yet it ended in a vain wish, the words 'vainly followed' writing the vanity of the wish — the wish to return is as unreachable as riding the raft up to heaven. The depth: the contrast of 'indeed' and 'vainly' writes the contrast of reality and wish — the ape-hearing tears are real (the grief of reality), the mission to return is vain (the vanity of wish); the grief of the 'indeed shed tears' is precisely because of the 'vainly followed the August raft' — since return is hopeless, the ape-hearing brings the tears. Writing grief through 'indeed', writing vanity through 'vainly', the craft of Du Fu's 'deep and turned', the reason this line became a famous line of the contrast between reality and wish.
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'Autumn Meditations No. 1' ('jade dew withers the maple grove, Wu mountains and Wu Gorge air desolate,' 'the clustered chrysanthemums twice bloom with old tears, the lone boat once moors my home-heart') writes the desolate Kuizhou autumn and the home-heart—the opening of the set. 'No. 2' writes 'each night I lean on the Northern Dipper to gaze toward the capital' and 'hearing the apes, truly I shed tears'—the deep sorrow of gazing yet not returning. Same set, No. 1 writes the 'desolate Gorge air' autumn scene, No. 2 writes the 'gaze toward the capital' longing; No. 1 uses 'chrysanthemums' and 'lone boat' for the home-heart, No. 2 uses 'apes' and 'eighth-month raft' for the far return. Read together they show the set's structure moving from scene to feeling.
《秋兴八首·其一》「玉露凋伤枫树林，巫山巫峡气萧森」「丛菊两开他日泪，孤舟一系故园心」写夔州秋景的萧森与故园之思，是《秋兴八首》的开篇。此诗《秋兴八首·其二》则「每依北斗望京华」「听猿实下三声泪，奉使虚随八月槎」写望京华而不得归的深愁，是《秋兴八首》的第二首。同为其一其二，一写「巫山巫峡气萧森」的秋景（其一），一写「每依北斗望京华」的望归（其二）；一以「丛菊」「孤舟」写故园心，一以「听猿」「八月槎」写归期渺。两诗对读，可见杜甫秋兴组诗由景入情的结构。
登高 Climbing High 杜甫 · 同杜甫夔州时期写秋，一登高一望京 Both Du Fu Kuizhou autumn poems—one climbs high, one gazes at the capital.'Climbing High' ('sharp wind, high sky, apes wail in sorrow; clear islet, white sand, birds wheel back,' 'boundless forest sheds leaves rustling down; the long Yangtze rolls on,' 'ten-thousand-li sad autumn, ever a guest; a hundred years sick, alone I climb the terrace') writes the Kuizhou climb's autumnal sorrow—the peak of Du Fu's seven-regulated. 'Autumn Meditations No. 2' writes the Kuizhou autumn-night capital-gaze—another famous autumn poem. Both are Du Fu's Kuizhou autumn: one the high-climb sad autumn, one the Dipper-gaze homesickness; one 'boundless forest leaves' for desolation, one 'each night I lean on the Dipper' for insistence. Read together they show Du Fu's Kuizhou autumn—sad autumn and homesickness intertwined.
《登高》「风急天高猿啸哀，渚清沙白鸟飞回」「无边落木萧萧下，不尽长江滚滚来」「万里悲秋常作客，百年多病独登台」写夔州登高的悲秋，是杜甫七律的巅峰。此诗《秋兴八首·其二》则「夔府孤城落日斜，每依北斗望京华」「听猿实下三声泪」写夔州秋夜望京华的深愁，是杜甫写秋的另一名篇。同为杜甫夔州时期写秋，一写登高远望的悲秋（登高），一写依北斗望京华的思归（秋兴·其二）；一以「无边落木」写苍凉，一以「每依北斗」写执著。两诗对读，可见杜甫在夔州的秋日情怀——悲秋与思归交织。
春望 Spring View 杜甫 · 同杜甫写故国之思，一春一秋 Both Du Fu on longing for the state—one spring, one autumn.'Spring View' ('the state broken, mountains and rivers remain; the city in spring, grass and trees deep,' 'beacon fires three months running, a home letter worth ten thousand in gold') writes the worry for state and home amid the fallen Chang'an of the An Lushan Rebellion—a representative of Du Fu's 'poet-historian.' 'Autumn Meditations No. 2' writes the Kuizhou autumn-night gaze toward Chang'an—a famous late-life state-longing. Both are Du Fu's state-longing: one 'the state broken, mountains and rivers remain' amid the fallen capital (Spring View), one 'each night I lean on the Northern Dipper to gaze toward the capital' in late-life drift (Autumn Meditations No. 2); one 'white hair, ever shorter scratch' for worry, one 'hearing the apes, truly I shed tears' for grief. Read together they show Du Fu's state-longing from wartime to exile, and the consistency of his grave nature.
《春望》「国破山河在，城春草木深」「烽火连三月，家书抵万金」写安史之乱中长安沦陷的忧国思家，是杜甫「诗史」的代表作。此诗《秋兴八首·其二》则「每依北斗望京华」写夔州秋夜望长安的故国之思，是杜甫晚年写故国之思的名篇。同为杜甫写故国之思，一写长安沦陷时的「国破山河在」（春望），一写身老漂泊时的「每依北斗望京华」（秋兴·其二）；一以「白头搔更短」写忧愤，一以「听猿实下三声泪」写悲苦。两诗对读，可见杜甫从战乱到漂泊的故国之思，也可见其沉郁本色的一贯。