唐 Tang · 诗 Poem
夜雨
The Night Rain
我有所念人，隔在远远乡。
我有所感事，结在深深肠。
乡远去不得，无日不瞻望。
肠深解不得，无夕不思量。
况此残灯夜，独宿在空堂。
秋天殊未晓，风雨正苍苍。
不学头陀法，前心安可忘。
Separated by a distant, distant land.
I have one thing I feel,
Knit in a deep, deep gut.
The land is distant, and I cannot go —
There is no day that I do not gaze toward it.
Moreover, this night of the dying lamp,
I sleep alone in the empty hall.
The autumn sky is not yet dawn,
The wind and the rain are just now vast and gray.
How can the former mind ever be forgotten?
Meaning
A poem of the night rain and the longing, written by Bai Juyi. I have one I think of — separated by a distant, distant land; I have one thing I feel — knit in a deep, deep gut — the person thought of and the feeling knit. The land is distant, and he cannot go — there is no day that he does not gaze toward it — the distance and the daily gaze. Moreover, this night of the dying lamp, he sleeps alone in the empty hall — the solitude of the night. The autumn sky is not yet dawn, the wind and the rain are just now vast and gray — the vast gray night of the rain. And the close: if he does not learn the way of the ascetic — how can the former mind ever be forgotten? The poem is the longing of the night: the distant person, the knit gut, and the rain of the empty hall, the mind that cannot forget.
我心中有一个思念的人，却远隔在遥远的他乡。我心中有一件感触的事，郁结在深深的愁肠里。家乡遥远回不去，没有一天不抬头眺望。愁肠深结解不开，没有一夜不反复思量。何况在这残灯将尽的夜里，独自宿在空荡荡的厅堂。秋夜迟迟不到天明，风雨正一片苍茫。若不学那佛家头陀的办法把心事放下，这旧日的心事叫我如何能忘？
Appreciation
[Plain Paraphrase] I have one I think of, separated by a distant, distant land. I have one thing I feel, knit in a deep, deep gut. The land is distant, and I cannot go — there is no day that I do not gaze toward it. Moreover, this night of the dying lamp, I sleep alone in the empty hall. The autumn sky is not yet dawn, the wind and the rain are just now vast and gray. If I do not learn the way of the ascetic, how can the former mind ever be forgotten? [Structure and Thought] The poem moves from the person thought of and the feeling knit — the distant land, the deep gut — through the daily gaze and the night of the dying lamp in the empty hall, to the vast gray rain, and the close's question: how can the former mind be forgotten without the ascetic's way? [Key Technique] The poem's art is the longing's constancy: the distant and the deep, the daily gaze, and the rain of the night — the longing knit in the gut, gathered in the close's question on the forgetting. [Emotional Tone] Deep, lonely, and constant: the poem is the night rain of the longing, the person thought of and the mind that cannot forget.
【白话串讲】 白居易写《夜雨》：“我有所念人，隔在远远乡”。“我有所感事，结在深深肠”——“乡远去不得，无日不瞻望”——“况此残灯夜，独宿在空堂”——“不学头陀法，前心安可忘”——他写深夜的思念。 【意象与手法】 全诗以复沓立骨：起四句「我有所念人」「我有所感事」句式完全一致，反复咏叹，如民歌之重章叠句；「乡远去不得，无日不瞻望。肠深解不得，无夕不思量」对仗工整、语义递进，写出相思的昼夜不辍。第九句一个「况」字陡然转入眼前实景——残灯、空堂、秋夜、风雨，以景写情，点出题面「夜雨」；末二句以反诘作结，将无法排遣的相思定格为永恒。全诗由情入景、由景结情，直而不浅、浅而弥深。 【情感与主旨】 此诗写秋夜独宿、风雨交加时对远方之人的刻骨思念。近人考证以为，诗人早年与邻女湘灵相爱，因门第之隔未成眷属，此诗或即追忆这段旧情而作。诗中「无日不瞻望」「无夕不思量」的执着，与「不学头陀法，前心安可忘」的决绝，写出相思之入骨：不是不能忘，而是不愿忘、不舍忘，以佛理反衬痴情，把一段旧情写得比佛法更深、更坚。 【名句点睛】 常考「我有所念人，隔在远远乡」的直白抒情与民歌式复沓手法，以及「无日不瞻望」「无夕不思量」的对仗句；「不学头陀法，前心安可忘」以反诘写痴情，与《长恨歌》「天长地久有时尽，此恨绵绵无绝期」的深情一脉相通，亦为常考点。
Background
Bai Juyi (772–846) wrote this poem of the night rain and the longing — the person thought of, separated by the distant land, and the feeling knit in the gut. The poem is one of his most direct statements of the longing: the daily gaze, the night of the dying lamp in the empty hall, and the vast gray rain. The close — 'if I do not learn the way of the ascetic, how can the former mind ever be forgotten' — is the question of the forgetting: only the ascetic's way — the way of the Buddhist practice — could still the mind, and the former mind cannot be forgotten. The poem is the plain, direct longing of Bai Juyi.
白居易《夜雨》是一首五言古诗，写秋夜独宿、风雨交加时对远方之人的刻骨思念，历来被看作白氏「老妪能解」之外的深情之作。关于此诗的写作对象，历来有怀人、悼亡、念亲诸说；近人考证以为，诗人早年与邻女湘灵相爱，因门第之隔未成眷属，此诗或即追忆这段刻骨铭心的旧情而作，诗中「我有所念人，隔在远远乡」的直白倾诉，正与《长恨歌》「天长地久有时尽，此恨绵绵无绝期」的深情一脉相通。白居易生当中唐，前期以《新乐府》《秦中吟》关心民瘼，后期知足保和、随遇而安，然而此诗却摒弃了一切议论与说理，纯以第一人称直诉衷肠，在白氏集中别具一格。就时代而言，中唐士人渐重内心体验，白居易此诗以平易之语写深沉之情，正是中唐诗歌由盛唐的宏阔转向内心的深情的一个标本。全诗十二句，一韵到底，复沓回环，民歌风调与文人深致兼而有之。
Art
The poem's art is the art of the longing's constancy. The person and the feeling open in the parallel: I have one I think of — separated by a distant, distant land; I have one thing I feel — knit in a deep, deep gut — the distance and the depth, the person and the feeling. The daily longing follows: the land is distant, and he cannot go — there is no day that he does not gaze toward it — the distance and the daily gaze. The night: moreover, this night of the dying lamp, he sleeps alone in the empty hall — the solitude of the dying lamp. The rain: the autumn sky is not yet dawn, the wind and the rain are just now vast and gray — the vast gray night. And the close questions the forgetting: if he does not learn the way of the ascetic, how can the former mind ever be forgotten? The longing knit in the gut, and the mind that cannot forget, gathered in the close's question.
此诗艺术上最突出的特点是「以复沓立骨、以直白写深」。全诗十二句，起四句「我有所念人，隔在远远乡。我有所感事，结在深深肠」以完全相同的句式并列，反复咏叹，如民歌之重章叠句，将念人之情、感事之肠反复申诉，情意层层加浓；「乡远去不得，无日不瞻望。肠深解不得，无夕不思量」则句式对仗、语义递进，「去不得」对「解不得」、「无日」对「无夕」、「瞻望」对「思量」，在整齐的复沓中写出相思的昼夜不辍、无时或已。结构上，前八句全是内心独白，至第九句「况此残灯夜」一个「况」字陡然转入眼前实景——残灯、空堂、秋夜、风雨，以景写情，点出题面「夜雨」；末二句「不学头陀法，前心安可忘」以反诘作结，将无法排遣的相思定格为永恒。全诗由情入景、由景结情，直而不浅、浅而弥深，正是白居易「言浅思深」诗学的典范。全诗虽短，而章法谨严：前八句两两相对，如民歌之对唱；第九句「况」字一转，由情入景；末二句反诘作结，情思戛然而止，余韵不尽。这种「先情后景、以景结情」的结构，与《诗经》「兴」体及汉乐府「感于哀乐，缘事而发」的章法一脉相承，而其语言之平易、情感之深挚，则为唐人古诗中「以浅寓深」的典范。
Allusions
The poem carries no learned allusion; its art is the plain longing. 'The distant, distant land' (yuanyuan xiang) is the distant land of the person; 'the deep, deep gut' (shenshen chang) is the gut in which the feeling is knit — the depth of the longing; 'the dying lamp' (can deng) is the lamp dying in the night; 'the way of the ascetic' (toutuo fa) is the way of the Buddhist ascetic — the way of the practice that stills the mind; 'the former mind' (qian xin) is the former mind of the longing, the mind that cannot forget.
此诗用典极简，而意象自深，其渊源在汉乐府与《诗经》的重章叠句传统。其一，「我有所念人，隔在远远乡」的句式，直承汉乐府《古诗十九首》「行行重行行，与君生别离。相去万余里，各在天一涯」的相思传统，亦与《上邪》的直抒其情相近——民歌式的直白倾诉，正是此诗「远远乡」「深深肠」所自出。其二，「结在深深肠」的「肠」意象，本于「愁肠」「回肠」的古典语汇，古诗有「腹中车轮转」、《诗经》「中心如噎」之喻，皆以脏腑写情之郁结；白居易此处以「深深肠」写情之不可解，与李商隐「一寸相思一寸灰」异曲同工。其三，「残灯夜」「风雨正苍苍」的夜雨意象，是古典文学中怀人的典型场景——《诗经·郑风·风雨》「风雨凄凄，鸡鸣喈喈。既见君子，云胡不夷」，本以风雨怀人；白居易题名「夜雨」，暗用《诗经》之旨，写风雨之夜而所思不见，正得其神。其四，「头陀法」用佛家事：头陀为梵语，谓抖擞烦恼、离尘苦行之法，诗人说「不学头陀法，前心安可忘」，是借佛语反写情之难忘——相思入骨，纵有佛法亦不能断，痴情之深，于此毕见。
Commentary
This poem is one of Bai Juyi's most direct statements of the longing, quoted for the plainness of its feeling. The distant land and the deep gut, and the close's question on the forgetting, are among the admired passages of his direct manner. Critics praise the poem's constancy: the longing knit in the gut, and the mind that cannot forget, the night rain of the plain poet.
《夜雨》在白氏集中虽非最著，却以「语浅情深」赢得历代读者共鸣。白居易论诗主张「根情、苗言、华声、实义」，此诗正合「根情」之说——情是根本，言、声、义皆由情出，故字字从肺腑中流出。全诗无一生僻字、无一藻饰语，「远远乡」「深深肠」「无日不瞻望」「无夕不思量」，皆是日常口语，然读之者无不为之动容，正见白氏「老妪能解」而「知音者众」的深层原因：平淡之语能载至深之情，非大手笔不能为。此诗的价值有三：一在情感的真淳，将一段不可言说的旧情写得入骨三分，与《长恨歌》的帝王之恋相映，可见白氏写情不分贵贱；二在语言的功力，以民歌式的复沓写文人的深情，化俗为雅、以浅寓深，是中唐「以俗为雅」诗风的先声；三在题材的开掘，秋夜怀人自此成为后世诗词习见的场景，此诗实开其端。后世如温庭筠「梧桐树，三更雨」、李清照「梧桐更兼细雨」，皆夜雨怀人之绪，而白居易此篇的直白与恳挚，始终是这一传统的源头活水。
Prosody
Line by line
我有所念人，隔在远远乡。
I have one I think of, separated by a distant, distant land.
我心中有一个思念的人，却远隔着遥远的他乡。
There is someone I miss, parted from me in a far, far land.
开篇二句直抒胸臆，以「我有所念人」的告白式起笔，不加任何烘托，如民歌脱口而出。「隔在远远乡」叠用两个「远」字，写空间的距离之遥——「远远」不只是远，更是远到无望，与《古诗十九首》「相去万余里，各在天一涯」同一机杼，而口语化更甚。此二句的妙处在「直」：不写景、不用典、不设喻，纯以第一人称把心事和盘托出，其坦白恳挚，正与乐府民歌「上邪，我欲与君相知」一脉相承。而「念人」之「人」不点明身份，是情人、亲人抑或故人，留白给读者，使这首诗的深情具有了普遍的感染力——凡有所念而隔于远方者，读此皆以为己作。
The opening two lines speak the heart directly, opening in the confession there is someone I miss, without any adornment, as if a folk song bursting forth. Parted from me in a far, far land repeats far twice, writing the space's distance - far-far is not only far, but far to hopelessness, the same art as the Nineteen Old Poems ten thousand li apart, each at a heaven's edge, yet more colloquial. The subtlety of these two lines lies in directness: no scenery, no allusion, no metaphor; purely in the first person, laying the heart's whole contents open; its frankness and earnestness directly continue the yuefu folk song's Oh heaven, I would love you. And the person in someone I miss does not specify identity - lover, kin, or old friend - leaving blank for the reader, making this poem's deep feeling universally moving: whoever misses someone parted far away reads this as his own.
我有所感事，结在深深肠。
I have one thing I feel, knit in a deep, deep gut.
我心中有一件感触的事，郁结在深深的愁肠里。
There is something that grieves me, knotted in my deep, deep heart.
此二句与首二句对举，句式完全一致而语义推进一层：由「念人」而「感事」，由空间的「远」而及内心的「结」。「结在深深肠」叠用「深」字，「深深」写愁肠之幽深曲折，「结」字写愁思之郁积成块、纠缠难解，如同肠中打了死结——这种以「结」写愁的写法，本于「心有千千结」的古典联想，而「深深肠」的叠字又将愁的深度具象化。四句两「我有所」、两叠字（远远、深深），复沓回环，如《诗经》重章叠句之法，一唱三叹，把「念」与「感」两种情愫反复申诉，情感的浓度在重复中层层累积，为下文「无日不瞻望、无夕不思量」的执着蓄足气势。
These two lines parallel the first two, the sentence pattern identical, yet the meaning advances one layer: from someone I miss to something that grieves me, from the space's far to the heart's knot. Knotted in my deep, deep heart repeats deep; deep-deep writes the sorrowful bowels' depth and winding; knot writes the sorrow's accumulation into a lump, tangled and hard to untie, as if a death-knot tied in the bowels - this way of writing sorrow through knot derives from the classical association of the heart's thousand thousand knots, and deep-deep's reduplication concretizes sorrow's depth. Four lines, two I have, two reduplications (far-far, deep-deep), repetition circling, like the Book of Songs's repeated stanzas, one song with three sighs, repeatedly pleading the two feelings of missing and grieving; the emotional density accumulates layer upon layer in repetition, storing full momentum for the later not a day without gazing, not a night without thinking.
乡远去不得，无日不瞻望。
The land is distant, and I cannot go — there is no day that I do not gaze toward it.
家乡遥远回不去，没有一天不抬头眺望。
The home is far, I cannot go; not a day passes without gazing toward it.
此二句写「念人」而不得见之苦。「乡远去不得」一「去」字，兼含归去与往见两义——无论是归乡还是探访，都因路远而不得，「去不得」三字平平道来，却含着深沉的无奈；「无日不瞻望」以「无日不」的双重否定写思念之无时或已，「瞻望」本指抬头远望，一个远望的动作，日复一日，把望而不见的绝望写得具体可感。此二句与下二句「肠深解不得，无夕不思量」形成严整的对仗：乡远对肠深、去不得对解不得、无日对无夕、瞻望对思量，从白天到黑夜，从空间到内心，把相思的昼夜不辍、内外交困写尽。句式上「无日不」「无夕不」的反复，正是民歌式的强调，愈重复愈见情之执着。
These two lines write the pain of missing someone yet not seeing them. The home is far, I cannot go: one go carries both returning and going to visit - whether returning home or going to visit, both blocked by distance; cannot go is spoken plainly, yet holds deep helplessness. Not a day passes without gazing toward it uses the double negation not a day without to write the ceaselessness of longing; gazing originally means looking up from afar - one far-looking action, day after day, making the despair of gazing yet not seeing concrete and sensible. These two lines pair strictly with the next two: bowels deep, cannot untie, not a night without thinking; home far against bowels deep, cannot go against cannot untie, not a day against not a night, gazing against thinking; from day to night, from space to heart, exhausting the lovesickness's never-ceasing, inner and outer siege. In syntax, not a day without and not a night without's repetition is the folk-song emphasis; the more repeated, the more the feeling's执着 shows.
况此残灯夜，独宿在空堂。
Moreover, this night of the dying lamp, I sleep alone in the empty hall.
何况在这残灯将尽的夜里，独自宿在空荡荡的厅堂。
Especially on this night of the dying lamp, sleeping alone in the empty hall.
此二句以「况」字转笔，由内心独白转入眼前实景，是全诗由虚入实的枢机。「况」字表递进，意思是连白天尚且思念如此，何况这风雨秋夜——一个虚字，把前文的日思夜想与此刻的独宿孤灯接榫。「残灯夜」三字极炼：灯已残，夜正深，是秋夜最孤寂的时辰；「独宿在空堂」一「独」字一「空」字，写出形单影只与堂屋空荡的双重孤寂——残灯、空堂，与「我有所念人，隔在远远乡」遥相呼应：灯残而人远，堂空而心满。此二句纯以白描出之，不着一愁字而愁自满纸，正是白居易「以景结情」「不言愁而愁自见」的高明处，也是题面「夜雨」之「夜」的落实。
These two lines turn with especially, passing from inner monologue to present real scenery, the poem's pivot from void to solid. Especially marks progression: meaning, even by day the longing is so, how much more on this rainy autumn night - one empty word joins the foregoing day-and-night longing with the present lone dying lamp. Dying-lamp night is most refined: the lamp dying, the night deep, the loneliest hour of the autumn night. Sleeping alone in the empty hall: one alone, one empty, writes the double solitude of solitary shadow and empty hall - dying lamp, empty hall, echoing far, far land from the opening: lamp dying while the person is far, hall empty while the heart is full. These two lines purely in plain drawing, not one word of sorrow yet sorrow filling the page - precisely Bai Juyi's mastery of closing feeling in scenery and not saying sorrow yet sorrow self-evident, also the realization of the title's night.
秋天殊未晓，风雨正苍苍。
The autumn sky is not yet dawn, the wind and the rain are just now vast and gray.
秋夜迟迟不到天明，风雨正一片苍茫。
The autumn night is far from dawn; wind and rain lie all about, gray and vast.
此二句写夜雨之景，是全诗「夜雨」题面的正面落实，也是情感最沉郁处。「秋天殊未晓」写秋夜漫长——「殊未晓」即「还远远没有天亮」，一个盼天亮而天不亮的心理时间，把独宿之人的煎熬写得如在目前；「风雨正苍苍」以「苍苍」写风雨交加、天地晦暗之状，既是实景，又是心境的外化——「苍苍」二字，与《诗经·蒹葭》「蒹葭苍苍，白露为霜」同一色调，苍茫凄迷，正与诗人「念人隔远、感事结肠」的愁怀相映。风、雨、秋、夜四者交加，构成一个封闭而凄凉的时空，将前文所有的思念都笼罩在风雨苍茫之中，读之如闻其声、如感其寒。此二句以景写情，情景交融，是白诗「言浅意深」的又一明证。
These two lines write the night-rain scenery, the positive realization of the title's night rain, also the most somber emotional place. The autumn night is far from dawn writes the autumn night's length - far from dawn means still far from daybreak; a psychological time of hoping for dawn yet daybreak not coming, making the solitary sleeper's torment as if before the eyes. Wind and rain lie all about, gray and vast uses gray-vast to write wind and rain together, heaven and earth dim; at once real scenery and the mind's externalization - gray-vast shares the hue of the Book of Songs's reeds are gray-green, white dew turned to frost; vast and dim precisely mirrors the poet's bowels knotted with grief over the far-parted one. Wind, rain, autumn, night four together compose a closed, desolate space-time, wrapping all the foregoing longing in the wind-and-rain vastness; reading it, one hears the sound and feels the cold. These two lines write feeling through scenery, scenery and feeling fused - another proof of Bai's shallow words, deep meaning.
不学头陀法，前心安可忘。
If I do not learn the way of the ascetic, how can the former mind ever be forgotten?
若不学那佛家头陀的办法，这旧日的心事叫我如何能忘？
Unless I learn the ascetic's way, how can my old heart ever forget?
末二句以反诘作结，是全诗情感的凝定与升华。「头陀法」指佛家抖擞尘劳、断除烦恼的修行法门——诗人知道，若要忘情，唯有学佛断念一途；但他偏说「不学头陀法，前心安可忘」：正因为不愿、不肯学那断情之法，这旧日的心事（前心）便永不能忘。表面是问句，实是决绝的宣言——不是不能忘，而是不愿忘、不舍忘；以「不学」写痴，以「安可忘」写情之不可移，把相思写得比佛法更深、更坚。这一笔以佛理反衬痴情，翻进一层，将全诗推向高潮：夜雨可以停，秋夜可以尽，而此心之念，至死不忘。白居易后来在《长恨歌》中写「天长地久有时尽，此恨绵绵无绝期」，正是此意，而此诗用更朴素的语词，把这「绵绵无绝期」提前写尽了。
The closing two lines close in rhetorical question, the poem's emotional settling and sublimation. The ascetic's way means the Buddhist practice of shaking off worldly toil and cutting off afflictions - the poet knows, to forget feeling, only learning Buddhism and cutting thoughts; yet he says unless I learn the ascetic's way, how can my old heart ever forget: precisely because he is unwilling, refuses to learn that method of cutting feeling, this old heart can never forget. On the surface a question, in truth a resolute declaration - not cannot forget, but unwilling to forget, loath to forget; using not learning to write infatuation, using how can forget to write feeling's immovability, writing lovesickness deeper and firmer than Buddhist law. This stroke uses Buddhist truth to set off痴情, turning one layer deeper, pushing the poem to its climax: night rain can stop, autumn night can end, yet this heart's longing - unforgettable till death. Bai Juyi later wrote in the Song of Everlasting Regret heaven and earth are long, yet they have an end; this grief goes on forever, without end - precisely this meaning, yet this poem uses plainer words to write this forever beforehand.
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Li Zhiyi's 'Counting the Son of the Waves' — 'I live at the head of the Long River, you live at the tail' — is the longing of the two ends of the river; Bai Juyi's 'Night Rain' is the longing of the distant land — the daily gaze and the night of the rain — the same separated longing, the one of the river, the other of the rain.
李之仪《卜算子·我住长江头》「我住长江头，君住长江尾。日日思君不见君，共饮长江水」与白居易《夜雨》「我有所念人，隔在远远乡」句式如出一辙，皆以「我……」的告白起笔，直诉两地相隔之思。差异在于：白诗写「隔在远远乡」的无望，情感沉郁，结以「前心安可忘」的决绝，是中年人的沧桑；李词写「共饮长江水」的慰藉，情感清婉，结以「此水几时休，此恨何时已」的绵长，是情人间的心心相印。白诗五言古朴，一韵到底，如泣如诉；李词小令清丽，以水为媒，婉转有致。两作相隔三百余年，而「我有所念人」「我住长江头」的告白句式遥相呼应，可见这种民歌式直抒相思的手法，自白居易以后已成经典，历宋而不衰。
长相思 长相思 李白 · 同写相思之苦，一繁丽一古朴 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
李白《长相思》「长相思，在长安。络纬秋啼金井阑，微霜凄凄簟色寒」与白居易《夜雨》同写深秋长夜中的刻骨相思。差异在于：李白以繁笔写之——络纬、微霜、孤灯、卷帷望月，意象密集，词采华美，相思在富丽的铺陈中显得深沉而华丽；白居易以简笔写之——不设一喻、不用一典，仅以「残灯夜」「空堂」「风雨苍苍」几个寻常景致，相思在朴素的直白中显得真挚而苍凉。一为盛唐的浪漫高华，一为中唐的平易深挚；一写「美人如花隔云端」的怅惘，一写「我有所念人」的执念。二诗对读，恰见唐诗由盛入中，抒情由铺陈转直白、由华美转平淡的演进轨迹，而深情则一以贯之。
望江南·梳洗罢 Dreaming of the South of the River — Remembering the West of the Shu 温庭筠 · 同写思人不见的痴望，一隐一显 Both are the works of Bai Juyi's remembered love — the flowers of the Shu, the rain of the night — the two memories of the same heart.Bai Juyi's 'Dreaming of the South of the River — Remembering the West of the Shu' is the memory of the places of the past; 'The Night Rain' is the longing of the night — the person of the distant land and the feeling knit in the gut — the same remembered heart of Bai Juyi, the one of the place, the other of the person.
温庭筠《望江南·梳洗罢》「梳洗罢，独倚望江楼。过尽千帆皆不是，斜晖脉脉水悠悠」与白居易《夜雨》同写思念远方之人而不得见的痴情。差异在于：温词写的是白日的痴望——梳洗登楼、千帆过尽，以「皆不是」写希望的一次次落空，倚楼望江的意象含蓄蕴藉，情感藏于动作与景致之中；白诗写的是夜雨的痴念——独宿空堂、风雨苍苍，以「无日不瞻望，无夕不思量」直写思念的无时或已，情感倾泻于直白的申诉之中。一为词的婉约含蓄，一为诗的古朴直率；一以「斜晖脉脉」的余韵胜，一以「前心安可忘」的决绝胜。两作并观，可见同样的相思，在诗与词两种文体中呈现出截然不同的美感，而人间深情则千古如一。