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唐 Tang · 诗 Poem

咏怀古迹·其二

Mourning the Ancient Relics: The Second

杜甫

Du Fu

怀古History 咏史History 宋玉Theme

摇落深知宋玉悲，风流儒雅亦吾师。
怅望千秋一洒泪，萧条异代不同时。
江山故宅空文藻，云雨荒台岂梦思。
最是楚宫俱泯灭，舟人指点到今疑。

The falling and the shedding, deeply I know the sorrow of Song Yu,
The elegant and the learned, he is also my teacher.
Looking far in the sorrow, a thousand autumns, one shedding of the tears,
The bleak and the desolate, the different ages, not the same time.
In the south of the river and the old home, the desolate place,
The clear and the white, the wordless, the empty, the knowing of the ages.
The falling of the dreams, the scattered of the poems, the one of the platform,
The land, the mountain, the one of the place, the sorrow, the poems.

Listen

Meaning

A poem of the mourning of Song Yu and the self, written by Du Fu. The falling and the shedding, deeply he knows the sorrow of Song Yu — the elegant and the learned, he is also his teacher — the falling of the autumn and the teacher Song Yu. Looking far in the sorrow, a thousand autumns, one shedding of the tears — the bleak and the desolate, the different ages, not the same time — the far look of the thousand autumns and the different time. In the south of the river and the old home, the desolate place — the clear and the white, the wordless, the empty, the knowing of the ages — the desolate home and the wordless knowing. The falling of the dreams, the scattered of the poems, the one of the platform — the land, the mountain, the one of the place, the sorrow, the poems — the close's platform and the poems. The poem is the mourning of Song Yu: the teacher of the autumn, the different time, and the close's platform of the sorrow.

看到草木摇落，深深体会到宋玉悲秋的情怀；他风流儒雅，也是我的老师。怅望千秋，洒下一掬清泪；萧条异代，恨不能与他在同一时代相遇。江山依旧，故宅空存，空有文采；云雨荒台，岂是当日梦思？最可叹楚宫早已泯灭无存，只有舟人指点，至今还疑惑不解。

Appreciation

[Plain Paraphrase] The falling and the shedding, deeply I know the sorrow of Song Yu, the elegant and the learned, he is also my teacher. Looking far in the sorrow, a thousand autumns, one shedding of the tears, the bleak and the desolate, the different ages, not the same time. In the south of the river and the old home, the desolate place, the clear and the white, the wordless, the empty, the knowing of the ages. The falling of the dreams, the scattered of the poems, the one of the platform, the land, the mountain, the one of the place, the sorrow, the poems. [Structure and Thought] The poem moves from the teacher Song Yu and the sorrow of the autumn, through the far look of the thousand autumns and the different time, to the desolate home and the close's platform with the sorrow of the poems. [Key Technique] The poem's art is the knowing of the different ages: the different time of the bleak and the desolate, and the close's wordless knowing of the ages with the sorrow of the poems — the mourning of Song Yu and the self, gathered in the knowing of the ages. [Emotional Tone] Sorrowful, far, and knowing: the poem is the mourning of Song Yu, the different time and the close's wordless knowing.

【白话串讲】杜甫写《咏怀古迹·其二》：“摇落深知宋玉悲，风流儒雅亦吾师”——“怅望千秋一洒泪，萧条异代不同时”——“江山故宅空文藻，云雨荒台岂梦思”——“最是楚宫俱泯灭，舟人指点到今疑”——他悼宋玉。【意象与手法】此诗是杜甫《咏怀古迹》五首的第二首，咏楚国辞赋家宋玉，以怀古写身世之感，是杜甫怀古诗的典范。首联「摇落深知宋玉悲，风流儒雅亦吾师」写对宋玉的景仰——「摇落」化用宋玉《九辩》「悲哉秋之为气也，萧瑟兮草木摇落而变衰」，杜甫深知宋玉悲秋之怀；「风流儒雅亦吾师」以宋玉为师，是千古名句。颔联「怅望千秋一洒泪，萧条异代不同时」写异代相感的怅惘——怅望千年，洒泪凭吊；萧条异代，恨不同时，是千古名句。颈联「江山故宅空文藻，云雨荒台岂梦思」写宋玉故宅与高唐云雨——故宅空存，文藻犹在；云雨荒台，岂是梦思（暗含《高唐赋》巫山云雨之典）。尾联「最是楚宫俱泯灭，舟人指点到今疑」写楚宫的泯灭——楚宫早已无存，只有舟人指指点点、疑其所在。全诗以「摇落」「千秋」「江山」「楚宫」写历史沧桑，以「深知」「亦吾师」「怅望」「洒泪」写异代相感，将怀古之情与身世之叹熔于一炉。【情感与主旨】此诗作于唐代宗大历元年（766），时杜甫流寓夔州（今重庆奉节）。杜甫在夔州期间，遍访三峡古迹，写下《咏怀古迹》五首（分咏庾信、宋玉、王昭君、刘备、诸葛亮）。此首咏宋玉——宋玉是战国楚辞赋家，才高而不得志，杜甫以宋玉自比，怀古实为伤己。那「摇落深知宋玉悲」写宋玉悲秋之怀，也暗含杜甫自身的漂泊之悲（杜甫晚年漂泊西南，「摇落」正是其境遇的写照）；那「风流儒雅亦吾师」以宋玉为师，见其文才的仰慕；那「怅望千秋一洒泪，萧条异代不同时」写异代相感的怅惘——宋玉不得志于当世，杜甫亦潦倒于当时，同是天涯沦落人；那「江山故宅空文藻」写宋玉空有文才而故宅空存，暗含对自己「文章憎命达」的感慨；那「最是楚宫俱泯灭」写楚宫的泯灭，以历史的沧桑写人事的短暂。全诗以咏宋玉写身世之慨，是杜甫「借古人酒杯，浇自己块垒」的怀古名篇。【名句点睛】常考“摇落深知宋玉悲，风流儒雅亦吾师”写对宋玉的景仰；“怅望千秋一洒泪，萧条异代不同时”写异代相感，是千古名句。

Background

Du Fu (712–770) wrote this 'Mourning the Ancient Relics: The Second' in his exile in Kuizhou, mourning Song Yu — the teacher of the autumn and the self. The falling and the shedding of the autumn with the deep knowing of the sorrow of Song Yu, the elegant and the learned teacher, the far look of the thousand autumns with the tears and the different time, the desolate old home of the south of the river, and the close's platform of the falling dreams and the scattered poems — the poem gathers the mourning of Song Yu and the self, the different time and the knowing. The poem is one of the famous 'Mourning the Ancient Relics' series of the poet.

此诗作于唐代宗大历元年（766）秋，是杜甫《咏怀古迹》五首的第二首。杜甫于大历元年春自云安移居夔州（今重庆奉节），在夔州期间，他遍访三峡一带的古迹（庾信宅、宋玉宅、昭君村、先主庙、武侯祠等），写下《咏怀古迹》五首，分咏庾信、宋玉、王昭君、刘备、诸葛亮。此首咏宋玉。宋玉是战国时期楚国辞赋家，相传为屈原弟子，以辞赋著称（《九辩》《高唐赋》《神女赋》等），然其生平不得志，故多以悲秋、怀才不遇为辞。《九辩》开篇「悲哉秋之为气也，萧瑟兮草木摇落而变衰」，是「悲秋」传统的源头。宋玉宅在归州（今湖北秭归，一说在湖北宜城），杜甫流寓夔州时经过其地，有感而作。诗中「摇落深知宋玉悲」化用《九辩》「草木摇落而变衰」之语，写对宋玉悲秋之怀的深切体会；「风流儒雅亦吾师」以宋玉为师；「怅望千秋一洒泪，萧条异代不同时」写异代相感的怅惘；「江山故宅空文藻」写宋玉故宅空存、文藻犹在；「云雨荒台岂梦思」暗用宋玉《高唐赋》巫山神女（朝云暮雨）之典；「最是楚宫俱泯灭，舟人指点到今疑」写楚宫的泯灭。全诗以怀古写身世，以宋玉自况，是杜甫「借古人酒杯，浇自己块垒」的怀古名篇。

Art

The poem's art is the art of the mourning and the knowing. The teacher opens: the falling and the shedding, deeply he knows the sorrow of Song Yu — the falling of the autumn and the sorrow of Song Yu; the elegant and the learned, he is also his teacher — the teacher of the poet. The far look follows: looking far in the sorrow, a thousand autumns, one shedding of the tears — the far look of the thousand autumns; the bleak and the desolate, the different ages, not the same time — the different time of the bleak. The home: in the south of the river and the old home, the desolate place — the clear and the white, the wordless, the empty, the knowing of the ages — the desolate home and the wordless knowing. And the close gathers the poems: the falling of the dreams, the scattered of the poems, the one of the platform — the land, the mountain, the one of the place, the sorrow, the poems — the platform and the poems, the mourning of Song Yu and the self, gathered in the close.

此诗的艺术特色可从四个层面解析。其一，异代相感的结构。全诗以「深知宋玉悲」起笔，写杜甫与宋玉的异代共鸣——那「摇落」既是宋玉《九辩》的悲秋，也是杜甫自身的漂泊之悲；那「亦吾师」写对宋玉的景仰；那「怅望千秋一洒泪，萧条异代不同时」写异代相感的怅惘，是千古名句。全诗以古写今、以宋玉写自己，结构完整而情感深挚。其二，典故的化用。「摇落」化用《九辩》，「云雨荒台」暗用《高唐赋》，皆不露痕迹，而情思毕现，正是杜甫「无一字无来处」的本领。其三，时空的对照。「怅望千秋」写时间的悠远，「江山故宅」写空间的沧桑，「楚宫俱泯灭」写历史的湮没，时空交错，气象苍茫。其四，以问作结的笔法。「云雨荒台岂梦思」「舟人指点到今疑」两处以问（疑）写历史的渺茫——那高唐云雨是真是梦？那楚宫何在？皆不可考，以疑问写尽历史的苍茫。四重手法，使此诗成为杜甫怀古诗中咏宋玉的经典，也是「借古人酒杯，浇自己块垒」的典范。

Allusions

'Song Yu' (Song Yu) is the poet of the Chu — the teacher of the autumn, the sorrow of the falling; 'the different ages, not the same time' (yi dai bu tong shi) is the different time — the different ages, not the same time; 'the south of the river' (jiang nan) is the south of the river — the old home of the south; 'the platform' (tai) is the platform — the platform of the poems, the one of the place; 'the falling of the dreams, the scattered of the poems' (meng luo shi san) are the dreams and the poems — the falling dreams and the scattered poems of the close.

此诗的用典深植于楚辞传统。「摇落深知宋玉悲」化用宋玉《九辩》「悲哉秋之为气也，萧瑟兮草木摇落而变衰」——「摇落」即《九辩》「草木摇落」之语，杜甫以「摇落」点出宋玉悲秋的源头，那「深知」写杜甫对宋玉悲秋之怀的深切体会，令人想到「悲秋」这一中国文学母题的源头正在宋玉；「风流儒雅亦吾师」以宋玉为师，那「风流儒雅」写宋玉的文采与风度。「云雨荒台岂梦思」暗用宋玉《高唐赋》之典——《高唐赋》写楚襄王游高唐，梦遇巫山神女，神女自称「旦为朝云，暮为行雨」，故后世以「云雨」代指男女之情，杜甫以「云雨荒台」写高唐云雨的旧迹，以「岂梦思」写那云雨之事已不可考，令人想到「巫山云雨」的典故与「神女生涯原是梦」的怅惘；「江山故宅空文藻」写宋玉故宅——那「故宅」令人想到「宋玉宅」的旧址，那「空文藻」写空有文采而功业无成，令人想到「文章憎命达」（杜甫《天末怀李白》）的身世之感；「最是楚宫俱泯灭」写楚宫的湮没——那「楚宫」令人想到楚国的宫殿（章华台等），令人想到「楚宫」的兴亡与「一片降幡出石头」的历史沧桑。全诗化用《九辩》《高唐赋》与楚宫兴亡的典故，以宋玉写身世，正是杜甫「以古写今」的本领——那摇落、云雨、楚宫，皆是楚辞与楚国的意象，经杜甫点化，都成为身世之感的载体。

Commentary

This poem is one of the famous 'Mourning the Ancient Relics' series of Du Fu, quoted for the knowing of the different ages. The different time of the bleak and the desolate, and the wordless knowing of the ages, are among the admired passages of the poet's mourning poems. Critics praise the poem's knowing: the mourning of Song Yu gathered from the teacher, to the close's platform of the sorrow.

此诗历来被推为杜甫《咏怀古迹》中咏宋玉的名篇，也是「借古人酒杯，浇自己块垒」的怀古典范。历代论者对此诗评价极高：清人评此诗「以宋玉自况，一往情深」；近人更指出「摇落深知宋玉悲」「怅望千秋一洒泪，萧条异代不同时」以异代相感写身世之慨，是杜甫怀古诗中最见性情的作品。在文学史上，此诗的特殊价值在于：它以咏宋玉写杜甫自身的身世之感——宋玉才高而不得志，杜甫亦文高而潦倒（晚年漂泊西南），「萧条异代不同时」写尽了两人异代而同悲的际遇；那「摇落」既是宋玉的悲秋，也是杜甫的漂泊，「风流儒雅亦吾师」既是景仰，也是自况。诗中「摇落深知宋玉悲，风流儒雅亦吾师」「怅望千秋一洒泪，萧条异代不同时」都是千古名句。此诗与《咏怀古迹·其三》（咏王昭君「千载琵琶作胡语，分明怨恨曲中论」）同为《咏怀古迹》中的名篇，一咏文士（宋玉），一咏女性（昭君），都是借古人的酒杯浇自己的块垒。对于今日读者，此诗是理解杜甫「以古写今」笔法的窗口，也是感受中国怀古诗「异代相感」传统的经典——那摇落的草木、千秋的怅望、云雨的荒台，穿越千年，仍在诉说着文人的失意与深情。

Prosody

Form A regulated seven-character poem of the mourning七言律诗（平起平收，首句入韵）

Rhyme The poem rhymes on the level-tone shi, shi, si and shi of the group — the even, level rhyme that carries the far mourning.全诗押平声支韵（师、时、思、疑），一韵到底，韵音深沉流丽，正合怀古的沉郁。

Tone pattern The cadence is that of the mourning: the level opening with the falling and the teacher, the turning with the different time and the knowing, and the close's fall with the platform and the poems.此诗为七言律诗，八句五十六字，押平声韵。全诗按内容可分为四联：首联写对宋玉的景仰（摇落深知宋玉悲、风流儒雅亦吾师）；颔联写异代相感的怅惘（怅望千秋一洒泪、萧条异代不同时）；颈联写故宅与云雨荒台的沧桑（江山故宅空文藻、云雨荒台岂梦思）；尾联写楚宫的泯灭（最是楚宫俱泯灭、舟人指点到今疑）。声调上，全诗对仗工整（摇落对风流、千秋对异代、故宅对荒台、泯灭对指点），节奏沉郁顿挫，平声韵一韵到底，正合怀古的苍茫。

Reading note The poem's sound matches its mourning: the even, level rhymes carry the cadence of the far look, and the close — 'jiang shan gu you, chu di, shen, shi' — falls with the sorrow of the poems, the sound of the mourning of the ages.此诗是七言律诗咏宋玉的经典，以异代相感的结构与楚辞的典故写怀古的身世之慨，正是杜甫「借古人酒杯，浇自己块垒」的本领。全诗四联：首联写景仰（摇落深知宋玉悲、风流儒雅亦吾师），颔联写异代相感（怅望千秋一洒泪、萧条异代不同时），颈联写沧桑（江山故宅空文藻、云雨荒台岂梦思），尾联写楚宫的泯灭（最是楚宫俱泯灭、舟人指点到今疑）。声调上，全诗对仗工整、沉郁顿挫，那「怅望千秋一洒泪，萧条异代不同时」的感慨，「最是楚宫俱泯灭，舟人指点到今疑」的苍茫，正是杜甫怀古的深意。诵读此诗，宜以沉郁的语调读首联的景仰与颔联的怅惘，以苍凉的语调读颈联尾联的沧桑，方能传达出杜甫咏宋玉而自伤身世的深意。七律在杜甫手中达到巅峰，此诗正是其怀古七律的典范。

Line by line

摇落深知宋玉悲，风流儒雅亦吾师。

The falling and the shedding, deeply I know the sorrow of Song Yu, the elegant and the learned, he is also my teacher.

看到草木摇落，深深体会到宋玉悲秋的情怀；他风流儒雅，也是我的老师。

Leaves falling - I deeply know Song Yu's grief; his grace and learning are also my master.

这句是写对宋玉景仰的名句，也是千古名句，以「摇落」化用宋玉《九辩》，写异代相感的悲怀与景仰。「摇落深知宋玉悲」写对宋玉悲秋之怀的深切体会——「摇落」化用宋玉《九辩》「草木摇落而变衰」，那「摇落」既是宋玉笔下的秋景，也是杜甫眼前的实景，杜甫看到草木摇落，便深深体会到宋玉当年悲秋的情怀，「深知」二字写尽异代相感；「风流儒雅亦吾师」写以宋玉为师——那「风流儒雅」写宋玉的文采与风度，那「亦吾师」写杜甫以宋玉为师的景仰。这句的深意在于：它以「摇落」写异代的共鸣——宋玉悲秋于千年前，杜甫见摇落而深知其悲，正是「异代不同时」而「心同」；那「亦吾师」更写尽杜甫对宋玉的景仰——不只是同情，更是以之为师。而那「深知」二字，也暗含杜甫自身的悲怀——他晚年漂泊西南，正与宋玉的失意相似，故能「深知」。以「摇落」化典、以「深知」写共鸣，正是杜甫「以古写今」的本领，也让这句成为咏宋玉的千古名句。

This is a famous line on revering Song Yu, also an age-famous line, using falling leaves adapted from Song Yu's Nine Arguments to write the cross-era resonance of grief and reverence. Leaves falling - I deeply know Song Yu's grief writes the deep comprehension of Song Yu's autumn grief - falling leaves adapts Song Yu's plants and leaves fall and wither; falling leaves is at once the autumn scene in Song Yu's brush and the real scene before Du Fu's eyes; Du Fu seeing leaves fall, deeply understanding Song Yu's autumn grief of that time; deeply know exhausts the cross-era resonance. His grace and learning are also my master writes taking Song Yu as master - grace and learning write Song Yu's literary elegance; also my master writes Du Fu's reverence in taking him as teacher. The line's depth lies in: using falling leaves to write cross-era resonance - Song Yu grieved autumn a thousand years before; Du Fu seeing falling leaves and deeply knowing his grief, precisely different eras yet one heart; also my master further exhausts Du Fu's reverence - not only sympathy, but taking him as teacher. And deeply know secretly holds Du Fu's own grief - in his late years drifting in the southwest, precisely like Song Yu's disappointment; hence he can deeply know. Using falling leaves to adapt the allusion and deeply know to write resonance is precisely Du Fu's skill of using antiquity for the present, making this line an age-famous one for writing of Song Yu.

怅望千秋一洒泪，萧条异代不同时。

Looking far in the sorrow, a thousand autumns, one shedding of the tears, the bleak and the desolate, the different ages, not the same time.

怅望千年，洒下一掬清泪；萧条异代，恨不能与他在同一时代相遇。

Gazing across a thousand autumns, I shed a tear; desolate, ages apart, not of one time.

这句是全诗的枢纽，也是千古名句，以异代相感写身世之慨，沉郁而深挚。「怅望千秋一洒泪」写怅望千年的凭吊——那「怅望千秋」写遥望千年的时空，那「一洒泪」写洒下一掬清泪，怅望千年而洒泪，写尽对宋玉的凭吊与同情；「萧条异代不同时」写异代相感的怅惘——那「萧条」写宋玉的萧条失意（也是杜甫的萧条境遇），那「异代不同时」写两人相隔千年、不能同时相遇，「不同时」三字，写尽恨不能与宋玉同代的遗憾。这句的深意在于：它以「千秋」与「异代」写时空的阻隔——宋玉与杜甫相隔千年，无法相见，但「萧条」相同（同是失意文人）、「悲」相同（同有悲秋之怀），正是「异代不同时」而「萧条」相同的异代知己；那「一洒泪」既是凭吊宋玉之泪，也是自伤身世之泪——宋玉萧条，杜甫亦萧条，洒泪凭吊古人，实为自伤。以「千秋」写时空、以「萧条」写共鸣，正是杜甫「借古人酒杯，浇自己块垒」的本领，也让这句成为怀古诗中最深挚的千古名句。

This line is the poem's pivot, also an age-famous line, using cross-era resonance to write life-fate sighs, somber and deep. Gazing across a thousand autumns, I shed a tear writes the melancholy gaze at a thousand years - gazing across a thousand autumns writes the looking out over a millennium's time and space; shed one tear writes the tear shed; gazing a millennium and shedding tears exhausts the mourning and sympathy for Song Yu. Desolate, ages apart, not of one time writes the cross-era wistfulness - desolate writes Song Yu's bleak disappointment (also Du Fu's bleak lot); ages apart, not of one time writes the two separated by a millennium, unable to meet; not of one time exhausts the regret of not being able to share Song Yu's age. The line's depth lies in: using a thousand autumns and ages apart to write time-space's barrier - Song Yu and Du Fu separated by a millennium, unable to meet, yet desolate the same (both disappointed scholars), grief the same (both holding autumn grief); precisely ages apart yet desolate alike, cross-era soul mates. The shed one tear is at once the tear for mourning Song Yu and the tear for self-pity on life-fate - Song Yu desolate, Du Fu also desolate; shedding tears to mourn the ancient is in truth self-pity. Using a thousand autumns for time-space and desolate for resonance is precisely Du Fu's skill of borrowing the ancients' cup to dissolve his own block, making this line the deepest age-famous line among historical-musing poems.

Study

Word focus

深 'Deeply' — the deep knowing of the sorrow, the depth of the understanding. 「深」字是写异代相感的关键字，一个「深」字写尽杜甫对宋玉悲怀的深切体会，是「摇落深知宋玉悲」的点睛字。深者，深切、深入也。杜甫以「摇落深知宋玉悲」写对宋玉的理解，一个「深」字，至少有双重意味：其一，写体会之深切——那「深知」写杜甫不是泛泛地了解宋玉的悲秋，而是深切地体会到那悲怀的深处，「深」字写尽理解的程度——因为杜甫自身也经历着漂泊失意，故能「深知」宋玉之悲；其二，写共鸣之深刻——那「深」字写杜甫与宋玉的异代共鸣不是表面的同情，而是深入骨髓的理解——同是文才高而不得志，同是漂泊萧条，故「深知」其悲。「深」字写尽异代相感的深度。以「深」字写理解，正是杜甫「以古写今」的关键——若换作「真」「痛」等字，则或失其理解的层次，或失其共鸣的深度；唯「深」字，以一字写尽杜甫对宋玉悲怀的深切体会与深刻共鸣，也让「摇落深知宋玉悲」成为咏宋玉的千古名句。

空 'Empty' — the empty writings, the empty of the old home. 「空」字是写身世之慨的关键字，一个「空」字写尽故宅空存、文藻空留的感慨，是「江山故宅空文藻」的词眼。空者，徒然、白白地也。杜甫以「江山故宅空文藻」写宋玉故宅，一个「空」字，至少有双重意味：其一，写故宅之空存——那宋玉的故宅仍在江山之间，但主人早已不在，故宅空存，「空」字写尽物是人非的沧桑；其二，写文藻之空负——那宋玉空有一身文采（文藻），却功业无成、潦倒终身，「空」字写尽才高而命蹇的感慨——文采虽存，然于宋玉身世何补？那「空文藻」既叹宋玉，也是杜甫的自伤（文章憎命达）。以「空」字写故宅文藻，正是杜甫怀古写身的枢纽——那「空」字既写历史（故宅空存），也写身世（文才空负），一字而两意，正是杜甫「以一字写多层」的本领。若换作「存」「在」等字，则或失其徒然的感慨，或失其身世的叹息；唯「空」字，以一字写尽物是人非与才高命蹇的双重感慨，也让「江山故宅空文藻」成为写怀古身世的千古名句。