唐 Tang · 诗 Poem
夜宿七盘岭
Staying the Night at Seven-Coil Ridge
独游千里外,高卧七盘西。
晓月临窗近,天河入户低。
芳春平仲绿,清夜子规啼。
浮客空留听,褒城闻曙鸡。
High-lying west of the Seven Coils.
The dawn moon, near the window,
The heaven's river, entering the door, is low.
In the fragrant spring, the maidenhair trees are green,
In the clear night, the cuckoo cries.
The floating guest vainly stays to listen,
And from the Bao city hears the dawn cock.
Meaning
A poem of the night on the ridge, written by Shen Quanqi — the poet of the early Tang, on his journey to the south. Wandering alone beyond a thousand li, high-lying west of the Seven Coils — the lone traveler of the far journey. The dawn moon, near the window; the heaven's river, entering the door, is low — the mountain night, the moon and the river of stars low at the ridge. In the fragrant spring, the maidenhair trees are green; in the clear night, the cuckoo cries — the spring of the south, the crying of the cuckoo, the bird of the homesickness. The floating guest vainly stays to listen, and from the Bao city hears the dawn cock — the guest listening to the cuckoo, and the dawn cock of the town, the night ending and the journey continuing. The poem is the night of the traveler: the lone ridge, the low stars, the crying cuckoo, and the dawn cock of the road.
独游千里外,高卧七盘西。晓月临窗近,天河入户低。芳春平仲绿,清夜子规啼。浮客空留听,褒城闻曙鸡。
Appreciation
[Plain Paraphrase] Wandering alone beyond a thousand li, high-lying west of the Seven Coils. The dawn moon, near the window; the heaven's river, entering the door, is low. In the fragrant spring, the maidenhair trees are green; in the clear night, the cuckoo cries. The floating guest vainly stays to listen, and from the Bao city hears the dawn cock. [Structure and Thought] The poem moves from the lone journey to the ridge, through the night of the low moon and the river of stars, to the spring scene and the cuckoo's cry, and the close's dawn — the floating guest listening, and the dawn cock of the Bao city. [Key Technique] The poem's art is the night of the traveler: the height of the ridge — the moon near the window, the stars entering the door — and the crying of the cuckoo, the bird of the homesickness, gathered in the close's vain listening and the dawn cock. [Emotional Tone] Lonely, clear, and homesick: the poem is the night of the traveler on the ridge, the low stars and the crying cuckoo, and the dawn cock of the road.
【白话串讲】 沈佺期写《夜宿七盘岭》:“独游千里外,高卧七盘西”——“晓月临窗近,天河入户低”——“芳春平仲绿,清夜子规啼”——“浮客空留听,褒城闻曙鸡”——他夜宿七盘岭——天河入户低。 【意象与手法】 “独游千里外、高卧七盘西”写独游千里;“晓月临窗近、天河入户低”写晓月天河;“芳春平仲绿、清夜子规啼”写平仲子规;结以“浮客空留听,褒城闻曙鸡”写褒城闻曙鸡。清丽浑成。 【情感与主旨】 沈佺期写夜宿七盘岭之作,写独游千里、晓月天河入户低的羁旅之景,是写蜀道羁旅的名篇。 【名句点睛】 常考“晓月临窗近,天河入户低”写月近窗低;“芳春平仲绿,清夜子规啼”写平仲子规。
Background
Shen Quanqi (c. 656–714) was one of the founders of the regulated verse of the early Tang. This poem was written on his journey to the south, staying the night at the Seven-Coil Ridge — the high ridge of the road, west of which he lay. The night of the ridge — the dawn moon near the window, the heaven's river entering the door low — is the night of the height; and the cuckoo of the clear night is the bird of the homesickness, its cry heard by the floating guest. The close — the dawn cock of the Bao city — ends the night and continues the journey. The poem is one of the earliest of the regulated verse of the journey.
《夜宿七盘岭》为唐代诗人沈佺期所作诗。沈佺期(约656—约715),字云卿,相州内黄(今河南内黄)人,初唐诗人,官至太子少詹事。此诗写景羁旅,为夜宿七盘岭之作。诗中「独游千里外,高卧七盘西」写独游千里外,高卧七盘西;「晓月临窗近,天河入户低」写晓月临窗近,天河入户低;「芳春平仲绿,清夜子规啼」写芳春平仲绿,清夜子规啼;「浮客空留听,褒城闻曙鸡」写浮客空留听,褒城闻曙鸡。沈佺期此诗以写景羁旅、褒城闻曙鸡写其羁旅之情,清丽浑成,是沈佺期诗中的名篇。此篇《夜宿七盘岭》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《夜宿七盘岭》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 art is the art of the traveler's night. The journey opens: wandering alone beyond a thousand li, high-lying west of the Seven Coils — the lone distance and the height. The night follows in the exactness: the dawn moon, near the window; the heaven's river, entering the door, is low — the moon and the stars low at the ridge, the height of the dwelling. The spring of the south: in the fragrant spring, the maidenhair trees are green; in the clear night, the cuckoo cries — the green of the trees and the cry of the bird, the spring of the strange land. And the close gathers the homesickness: the floating guest vainly stays to listen, and from the Bao city hears the dawn cock — the vain listening to the cuckoo, and the dawn cock ending the night — the traveler's night, the homesickness and the road.
此诗艺术上以「清丽浑成、以景写情」见长。全诗共八句,由独游千里外而晓月临窗近而芳春平仲绿。起「独游千里外,高卧七盘西」写独游千里外:独游千里外,高卧七盘西;「晓月临窗近,天河入户低」写晓月临窗近:晓月临窗近,天河入户低;「芳春平仲绿,清夜子规啼」写芳春平仲绿:芳春平仲绿,清夜子规啼;结「浮客空留听,褒城闻曙鸡」写褒城闻曙鸡:浮客空留听,褒城闻曙鸡。全诗以景写情,由独游千里外而褒城闻曙鸡,清丽浑成,是沈佺期诗中的名篇。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 Seven Coils' (Qipanling) is the ridge of the road to the south, west of which the poet lies; 'the heaven's river' (tianhe) is the Milky Way, low at the ridge, entering the door. 'The maidenhair trees' (pingzhong) are the trees of the south, green in the fragrant spring; 'the cuckoo' (zigui) is the bird of the homesickness — the bird that cries, 'better to return' (zigui) — the cry heard by the guest; 'the floating guest' (fuke) is the wandering guest, the poet; 'the Bao city' (Baocheng) is the city of Bao — the town of the region, from which the dawn cock is heard.
诗中「独游千里外高卧七盘西」「晓月临窗近天河入户低」「芳春平仲绿清夜子规啼」「浮客空留听褒城闻曙鸡」等语,皆含典故故实。「独游千里外高卧七盘西」用七盘之典(七盘岭在褒城北,写宿岭),写独游千里外高卧七盘西;「晓月临窗近天河入户低」用天河之典(天河即银河,写夜近),写晓月临窗近天河入户低;「芳春平仲绿清夜子规啼」用子规之典(子规即杜鹃,啼声哀切),写芳春平仲绿清夜子规啼;「浮客空留听褒城闻曙鸡」写浮客空留听褒城闻曙鸡。诗人以七盘、天河、子规之典入诗,不着痕迹,而把写景羁旅之情写得真切可感,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 one of the earliest of the regulated verse of the journey, quoted for the exactness of its night scene. The moon near the window and the stars entering the door, and the cuckoo of the clear night, are among the admired passages of the early Tang. Critics praise the poem's exactness: the height of the ridge made visible, and the homesickness of the traveler gathered in the close.
这首《夜宿七盘岭》,是沈佺期写写景羁旅之作,写独游千里外、晓月临窗近、芳春平仲绿、褒城闻曙鸡之情,清丽浑成。起「独游千里外,高卧七盘西」——独游千里外,高卧七盘西。写独游千里外:独游千里外、高卧七盘西——千里外、七盘西;「晓月临窗近,天河入户低」——晓月临窗近,天河入户低。写晓月临窗近:晓月临窗近、天河入户低——临窗近、入户低;「芳春平仲绿,清夜子规啼」——芳春平仲绿,清夜子规啼。写芳春平仲绿:芳春平仲绿、清夜子规啼——平仲绿、子规啼;结「浮客空留听,褒城闻曙鸡」——浮客空留听,褒城闻曙鸡。写褒城闻曙鸡:浮客空留听、褒城闻曙鸡——空留听、闻曙鸡。这「浮客空留听,褒城闻曙鸡」,是全诗之结:以褒城闻曙鸡写其羁旅。全诗清丽浑成,以景写情,正是沈佺期诗中的名篇。综观全诗,情真、景切、理深,三者浑融无迹,故能于短短数语之中寄无限深意,令人百读不厌。其含蓄蕴藉之处,正是中国古典诗歌以少总多、言有尽而意无穷的美学精神的生动体现。
Prosody
Line by line
独游千里外,高卧七盘西。
Wandering alone beyond a thousand li, high-lying west of the Seven Coils.
独游千里外,高卧七盘西。
Traveling alone a thousand li away, I lie high to the west of Qipan.
起句写独游千里外,起笔即见其游。「独游千里外」写独游千里外,「独游」写独游、「千里外」写千里外;「高卧七盘西」用七盘之典写高卧七盘西,「高卧」写高卧、「七盘西」写七盘西。一句写独游千里外高卧七盘西,以独游千里外写千里外、以高卧七盘西写七盘西,写尽独游千里外、高卧七盘西之情。以游起兴,清丽而浑成,是「以游起兴」的妙笔。
The opening writes traveling alone a thousand li away, the journey named at the first stroke. Traveling alone a thousand li away: the solitary journey, the thousand-li distance. I lie high to the west of Qipan uses the Qipan allusion: high reclining, west of the Seven Coils ridge. One line writes the thousand-li solitary journey and the high reclining west of Qipan - Shen Quanqi's starting point for the night lodging: alone far away, lying high. The line opens with travel as bi-xing, limpid and natural: the distance and the height both stated plainly.
晓月临窗近,天河入户低。
The dawn moon, near the window; the heaven's river, entering the door, is low.
晓月临窗近,天河入户低。
The dawn moon leans near the window; the Silver River hangs low at the door.
此句写晓月临窗近,是全诗写晓月之态的关键。「晓月临窗近」写晓月临窗近,「晓月」写晓月、「临窗近」写临窗近;「天河入户低」用天河之典写天河入户低,「天河」写天河、「入户低」写入户低。一句写晓月临窗近天河入户低,以晓月临窗近写临窗近、以天河入户低写入户低,写尽晓月临窗近、天河入户低之情。以月写景,清丽而浑成,是「以月写景」的点睛之笔。
This line writes the dawn moon leans near the window, the key to the poem's dawn-moon state. The dawn moon: the morning moon. Leans near the window: close to the sill. The Silver River hangs low at the door uses the Milky Way allusion: the river of stars, low at the door. One line writes the moon near the window and the river low at the gate - Shen Quanqi's middle scene: the moon and the Milky Way both come close in the high lodging. The line uses the moon for scenery, limpid and natural: at a mountain inn at dawn, the sky itself is near.
芳春平仲绿,清夜子规啼。
In the fragrant spring, the maidenhair trees are green; in the clear night, the cuckoo cries.
芳春平仲绿,清夜子规啼。
In sweet spring, the pingzhong is green; in the clear night, the cuckoo calls.
此句写芳春平仲绿,是全诗写芳春之态的关键。「芳春平仲绿」写芳春平仲绿,「芳春」写芳春、「平仲绿」写平仲绿;「清夜子规啼」用子规之典写清夜子规啼,「清夜」写清夜、「子规啼」写子规啼。一句写芳春平仲绿清夜子规啼,以芳春平仲绿写平仲绿、以清夜子规啼写子规啼,写尽芳春平仲绿、清夜子规啼之情。以鸟写景,清丽而浑成,是「以鸟写景」的点睛之笔。
This line writes in sweet spring, the pingzhong is green, the key to the poem's spring state. In sweet spring: the fair spring time. The pingzhong is green: the yew green. In the clear night, the cuckoo calls uses the cuckoo allusion: the clear night, the cuckoo's cry. One line writes the spring's green yew and the night's cuckoo - Shen Quanqi's turn: spring green without, cuckoo's cry within, the traveler's homesickness hidden. The line uses a bird for scenery, limpid and natural: the cuckoo's call in the clear night sets off the solitude.
浮客空留听,褒城闻曙鸡。
The floating guest vainly stays to listen, and from the Bao city hears the dawn cock.
浮客空留听,褒城闻曙鸡。
A floating traveler stays in vain to listen; at Bao City, the dawn cock is heard.
结句写浮客空留听,是全诗立意的落点。「浮客空留听」写浮客空留听,「浮客」写浮客、「空留听」写空留听;「褒城闻曙鸡」写褒城闻曙鸡,「褒城」写褒城、「闻曙鸡」写闻曙鸡。一句写浮客空留听褒城闻曙鸡,以浮客空留听写空留听、以褒城闻曙鸡写闻曙鸡,写尽浮客空留听、褒城闻曙鸡之情。以鸡写情,清丽而浑成,是全诗最动人处,也是「以鸡写情」的点睛之笔。
The closing line writes a floating traveler stays in vain to listen, the poem's landing. A floating traveler: the drifting guest. Stays in vain to listen: the listening in vain. At Bao City, the dawn cock is heard: Bao City, the dawn rooster. One line writes the drifting traveler's vain listening and the Bao City dawn cock - Shen Quanqi's resolution: the night's listening ends in the dawn cock at Bao City, the road continuing. The line uses the cock for feeling, limpid and natural, the poem's most moving point: the traveler's vain listening is answered only by the dawn.
Study
Word focus
Related Reading
Shen Quanqi's poem stays the night on the ridge — the moon near the window, the cuckoo crying, the dawn cock of the road; Su Shi's 'Prelude to Water Melody' — 'when did the bright moon begin?' — is the mid-autumn of the brother, the longing of the distance — the same night and the longing, the one of the journey, the other of the parting.
苏轼《水调歌头·明月几时有》「转朱阁,低绮户,照无眠」,写夜宿感怀、清丽旷达,是宋词长调的名篇;沈佺期《夜宿七盘岭》则以「晓月临窗近,天河入户低」「独游千里外,高卧七盘西」写临窗近、高卧七盘西。两诗同写夜宿感怀、清丽旷达:一写转朱阁低绮户、以朱阁写无眠,一写晓月临窗近天河入户低、以晓月写羁旅;一为苏轼之旷达、一为沈佺期之清丽,并读正可见诗写「夜宿感怀」的两种笔法,皆于夜宿之中见清丽。
八声甘州·对潇潇暮雨洒江天 Eight Beats of Ganzhou: Facing the Evening Rain That Spatters the Long River 柳永 · 同写夜宿羁旅、清丽凝望,一写对潇潇暮雨洒江天、一写芳春平仲绿清夜子规啼,皆于夜宿之中见羁旅 Both are the poems of the traveler's night and the homesickness — Shen Quanqi's cuckoo of the ridge, Liu Yong's evening rain of the river — the two nights of the wandering.Shen Quanqi's poem is the night of the traveler on the ridge — the low stars, the cuckoo, the dawn cock; Liu Yong's 'Eight Beats of Ganzhou' — 'facing the evening rain that spatters the long river' — is the dusk of the wanderer by the river — the same homesickness of the road, the one of the dawn, the other of the dusk.
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」,写夜宿羁旅、清丽凝望,是宋词写羁旅的名篇;沈佺期《夜宿七盘岭》则以「芳春平仲绿,清夜子规啼」「浮客空留听,褒城闻曙鸡」写子规啼、闻曙鸡。两诗同写夜宿羁旅、清丽凝望:一写对潇潇暮雨洒江天、以暮雨写清秋,一写芳春平仲绿清夜子规啼、以子规写羁旅;一为柳永之清丽、一为沈佺期之浑成,并读正可见诗写「夜宿羁旅」的两种笔法,皆于夜宿之中见羁旅。