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唐 Tang · 诗 Poem

自夏口至鹦鹉洲夕望岳阳寄源中丞

From, Xiakou, to, the, Parrot, Islet, Gazing, at, the, Evening, toward, Yueyang, Sent, to, the, Censor, Yuan

刘长卿

Liu Changqing

汀洲无浪复无烟楚客相思益渺然汉口夕阳斜渡鸟洞庭秋水远连天孤城背岭寒吹角独戍临江夜泊船贾谊上书忧汉室长沙谪去古今怜

The, islet, of, the, sandbank, no, waves, and, again, no, mist,
The, longing, of, the, traveler, of, the, Chu, the, more, boundless.
The, setting, sun, of, the, Hankou, the, birds, crossing, obliquely,
The, autumn, water, of, the, Dongting, far, joining, the, sky.
The, lone, city, against, the, ridge, the, cold, blowing, the, horns,
The, lone, outpost, beside, the, river, the, night, mooring, the, boats.
Jia, Yi, submitting, the, memorial, worried, the, Han, court,
Demoted, to, Changsha, the, past, and, the, present, all, pity.

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Meaning

A poem of the journey and the consolation, written by Liu Changqing. The islet of the sandbank no waves and again no mist, the longing of the traveler of the Chu the more boundless — the journey of the opening. The setting sun of the Hankou the birds crossing obliquely, the autumn water of the Dongting far joining the sky — the scene of the middle. The lone city against the ridge the cold blowing the horns, the lone outpost beside the river the night mooring the boats — the desolation of the middle. And the close's Jia Yi submitting the memorial worried the Han court, demoted to Changsha the past and the present all pity — the close's consolation. The poem is the journey and the consolation: the longing, the desolation, and the close's pity.

汀洲无浪，也无烟，楚客相思，更加渺远。汉口夕阳，斜渡飞鸟，洞庭秋水，远连天际。孤城背岭，寒吹画角，独戍临江，夜泊行船。贾谊上书，忧心汉室，长沙谪去，古今怜惜。

Appreciation

[Plain Paraphrase] The, islet, of, the, sandbank, no, waves, and, again, no, mist, the, longing, of, the, traveler, of, the, Chu, the, more, boundless. The, setting, sun, of, the, Hankou, the, birds, crossing, obliquely, the, autumn, water, of, the, Dongting, far, joining, the, sky. The, lone, city, against, the, ridge, the, cold, blowing, the, horns, the, lone, outpost, beside, the, river, the, night, mooring, the, boats. Jia, Yi, submitting, the, memorial, worried, the, Han, court, demoted, to, Changsha, the, past, and, the, present, all, pity. [Structure and Thought] The poem moves from the journey of the sandbank and the longing, through the scene of the setting sun and the autumn water with the desolation of the lone city and the lone outpost, to the close's the pity of Jia Yi. [Key Technique] The poem's art is the close of the consolation: the lone city against the ridge the cold blowing the horns, and the close's demoted to Changsha the past and the present all pity — the journey gathered in the desolation and the close's pity. [Emotional Tone] Boundless, desolate, and pitying: the poem is the longing, the horns and the close's Jia Yi.

【白话串讲】刘长卿写《自夏口至鹦鹉洲夕望岳阳寄源中丞》：“汀洲无浪复无烟，楚客相思益渺然”——“汉口夕阳斜渡鸟，洞庭秋水远连天”——“孤城背岭寒吹角，独戍临江夜泊船”——“贾谊上书忧汉室，长沙谪去古今怜”——他夕望岳阳寄源中丞——洞庭秋水远连天。【意象与手法】首联“汀洲无浪复无烟，楚客相思益渺然”写汀洲无浪、楚客相思；颔联“汉口夕阳斜渡鸟，洞庭秋水远连天”写汉口夕阳、洞庭秋水；颈联“孤城背岭寒吹角，独戍临江夜泊船”写孤城吹角、独戍泊船；尾联“贾谊上书忧汉室，长沙谪去古今怜”以贾谊自比，写贬谪身世。苍凉深沉。【情感与主旨】刘长卿写自夏口至鹦鹉洲的羁旅相思，以贾谊自比写贬谪身世，是刘长卿七律的名篇。【名句点睛】常考“汉口夕阳斜渡鸟，洞庭秋水远连天”写羁旅之景；“贾谊上书忧汉室，长沙谪去古今怜”以贾谊自比。

Background

Liu Changqing (c. 709-789), the poet of the Tang, wrote this 'From, Xiakou, to, the, Parrot, Islet' of the journey and the consolation — the longing of the exile. The longing of the traveler of the Chu with the setting sun and the autumn water, the lone city with the cold horns, and the close's the pity of Jia Yi — the poem gathers the sorrow of the poet, the consolation of the fellow exile. The poem is one of the famous works of the poet's poems of the journey.

此诗为盛唐诗人刘长卿的《自夏口至鹦鹉洲夕望岳阳寄源中丞》之作，是羁旅相思寄赠的名篇。夏口即今湖北武昌，鹦鹉洲在武昌西南的长江中，岳阳即今湖南岳阳，源中丞当为其友人，时任岳阳。刘长卿一生仕途坎坷，曾遭贬谪，其诗多写贬谪之感、羁旅之情。此诗写自夏口至鹦鹉洲的羁旅，夕望岳阳而寄赠友人：「汀洲无浪复无烟」，写汀洲无浪，也无烟——鹦鹉洲畔，风平浪静，无浪无烟，正是江行的开阔；「楚客相思益渺然」，写楚客相思，更加渺远——「楚客」写漂泊楚地的游子（诗人自称），相思之情，因江天之远而更加渺然；「汉口夕阳斜渡鸟」，写汉口夕阳，斜渡飞鸟——汉口在汉水入江处，夕阳之下，飞鸟斜渡；「洞庭秋水远连天」，写洞庭秋水，远连天际——洞庭在岳阳，秋水浩渺，远连天际，正是眺望岳阳之所见；「孤城背岭寒吹角」，写孤城背岭，寒吹画角——那孤城背靠山岭，画角之声，在寒风中吹响；「独戍临江夜泊船」，写独戍临江，夜泊行船——那孤独的戍所临江而立，夜中泊船；「贾谊上书忧汉室」，写贾谊上书，忧心汉室——用贾谊之典，贾谊为汉文帝时政论家，上书陈政事，忧心汉室；「长沙谪去古今怜」，写长沙谪去，古今怜惜——贾谊因谗被贬长沙，古今之人皆怜惜。全诗以羁旅之景写相思与身世，尾联以贾谊自比，写贬谪之身世，苍凉而深沉，是刘长卿七律「羁旅寄慨」的代表作。

Art

The poem's art is the art of the consolation. The journey opens: the, islet, of, the, sandbank, no, waves, and, again, no, mist — the sandbank of the no mist; the, longing, of, the, traveler, of, the, Chu, the, more, boundless — the longing of the Chu. The scene follows: the, setting, sun, of, the, Hankou, the, birds, crossing, obliquely — the birds of the Hankou; the, autumn, water, of, the, Dongting, far, joining, the, sky — the autumn water of the Dongting; the, lone, city, against, the, ridge, the, cold, blowing, the, horns — the lone city of the cold horns; the, lone, outpost, beside, the, river, the, night, mooring, the, boats — the lone outpost of the night boats. And the close gathers the pity: Jia, Yi, submitting, the, memorial, worried, the, Han, court — the memorial of Jia Yi; demoted, to, Changsha, the, past, and, the, present, all, pity — the Changsha of the demotion — the journey, the desolation and the close's pity, gathered in the poem.

此诗艺术上以「以景写情」与「用典寄慨」为特色，在羁旅的江景中写尽相思与身世。首联「汀洲无浪复无烟，楚客相思益渺然」，以「无浪无烟」写江行之开阔，以「楚客相思益渺然」写相思之渺远——「汀洲」「楚客」，一写江景、一写身世，「益渺然」写相思因江天之远而更渺然；颔联「汉口夕阳斜渡鸟，洞庭秋水远连天」，以「汉口夕阳」写夕阳斜渡之鸟，以「洞庭秋水」写秋水连天之远——「斜渡鸟」「远连天」，一近一远，正是夕望的所见，那洞庭之远，正是岳阳之所在；颈联「孤城背岭寒吹角，独戍临江夜泊船」，以「孤城背岭」写孤城之寒，以「独戍临江」写独戍之寂——「寒吹角」「夜泊船」，一写画角之寒、一写夜泊之寂，正是羁旅的孤寂；尾联「贾谊上书忧汉室，长沙谪去古今怜」，以「贾谊上书」写贾谊之忧，以「长沙谪去」写贾谊之贬——那贾谊上书忧汉室而遭贬长沙，正是刘长卿以贾谊自比，写自己的贬谪身世。全诗由汀洲江景写起，经汉口夕阳、洞庭秋水、孤城独戍的羁旅之景，而归于「贾谊长沙」的身世之慨，以景写情、用典寄慨，正是刘长卿七律「羁旅寄慨」的极致。

Allusions

'The Parrot Islet' (ying wu zhou) is the Parrot Islet — the islet of the parrot, the islet of the Han; 'the Hankou' (han kou) is the Hankou — the mouth of the Han, the crossing of the setting sun; 'the Dongting' (dong ting) is the Dongting — the lake of the Dongting, the autumn water of the close; 'Jia Yi' (Jia Yi) is Jia Yi — the talent of the Han, the memorial of the demotion; 'Changsha' (chang sha) is Changsha — the demotion of Jia Yi, the pity of the close.

此诗用典于关键处见深意。「汀洲」，写水边平地——鹦鹉洲为长江中的洲渚，汀洲写水边之地，正切鹦鹉洲，也暗合崔颢「芳草萋萋鹦鹉洲」的登临意象。楚客，写漂泊楚地的游子——楚地即今湖北一带，诗人自夏口至鹦鹉洲，正行于楚地，「楚客」写漂泊楚地的游子（诗人自称），暗用《楚辞》的骚人之意，「楚客相思」写游子之相思。「贾谊上书忧汉室」，用「贾谊」之典——贾谊为汉文帝时政论家，上《治安策》陈政事，忧心汉室，后因谗被贬为长沙王太傅；「长沙谪去古今怜」，写贾谊贬长沙，古今怜惜——刘长卿曾遭贬谪，以贾谊自比，正是「借古人酒杯，浇自己块垒」。贾谊之典，为刘长卿诗常用——其《长沙过贾谊宅》「三年谪宦此栖迟，万古惟留楚客悲」，正是以贾谊写自己之贬。这些意象，或写汀洲、或写楚客、或写贾谊长沙，皆围绕羁旅相思与身世这一核心，织成一张含蕴的情网，正是刘长卿诗「用典寄慨」的特点。尤其值得注意的是，楚客与贾谊两典前后呼应：楚客本为《楚辞》骚人之意象，而贾谊又贬于楚地长沙，诗人以楚客自居、以贾谊自比，两典叠用，正见其漂泊楚地、贬谪身世的双重悲慨，含蓄而深沉。

Commentary

This poem is one of the famous works of Liu Changqing's poems of the journey, quoted for the splendor of its scene and the consolation of its close. The autumn water joining the sky, and the pity of Jia Yi, are among the admired passages of the poet's poems. Critics praise the poem's consolation: the journey gathered in the desolation, to the close's pity.

读此诗，最值得注意的是尾联「贾谊上书忧汉室，长沙谪去古今怜」所写出的「以贾谊自比」。前六句写羁旅之景：汀洲无浪、楚客相思、汉口夕阳、洞庭秋水、孤城吹角、独戍泊船——那是自夏口至鹦鹉洲的江行所见，是夕望岳阳的相思之景。而尾联忽然一转，以贾谊收束：「贾谊上书忧汉室，长沙谪去古今怜」——那贾谊，上书忧汉室，却因谗被贬长沙，古今怜惜。这一转，是全诗的关键：那「楚客相思」的「楚客」，原来不只是漂泊的游子，更是「长沙谪去」的贾谊——刘长卿以贾谊自比，写自己的贬谪身世。贾谊忧汉室而被贬长沙，刘长卿忧时局而遭贬谪，正是一样的人才不遇、一样的「古今怜」。那「楚客相思益渺然」的相思，不只是思念友人，更是对身世的感慨：贾谊「三年谪宦此栖迟」，刘长卿「一生襟抱未曾开」，正是同病相怜。以贾谊自比，正是刘长卿贬谪诗的共同笔法——其《长沙过贾谊宅》「汉文有道恩犹薄，湘水无情吊岂知」，正是此诗的姊妹篇。全诗以羁旅之景写相思与身世，由景入情、由情入慨，那「长沙谪去古今怜」的感慨，正是诗人贬谪身世的写照，也是「寄源中丞」的深衷——同为贬谪之人，同病相怜，正是寄诗的原由。

Prosody

Form A regulated poem of the journey (qi yan lü shi)诗（七言律诗）

Rhyme The poem rhymes on the level of the group — the cadence of the regulated poem that carries the boundless pity.此诗为七言律诗，押平声「先」部韵，「烟」「然」「天」「船」「怜」等字皆属下平一先韵，韵脚清亮而绵长，正合诗情「羁旅相思」的声调。首联「汀洲无浪复无烟，楚客相思益渺然」以「无浪复无烟」起，写江行之开阔；颔联「汉口夕阳斜渡鸟，洞庭秋水远连天」，以「汉口夕阳」「洞庭秋水」相对，工对而见远望；颈联「孤城背岭寒吹角，独戍临江夜泊船」，以「孤城」「独戍」相对，工对而见孤寂；尾联「贾谊上书忧汉室，长沙谪去古今怜」，以「贾谊」「长沙」相对，写身世感慨。整体声调由首联的江行，到尾联的贬谪，清亮而含悲，正合羁旅寄慨「苍凉深沉」的诗情。

Tone pattern The cadence is that of the consolation: the level opening with the journey, the turning with the scene, and the close's fall with the pity.句式上，此诗善用对仗与虚字：「汀洲无浪复无烟，楚客相思益渺然」，以「无浪复无烟」写江行之开阔，「益渺然」写相思之渺远；「汉口夕阳斜渡鸟，洞庭秋水远连天」，以「斜渡鸟」「远连天」写夕望之远，对仗精工；「孤城背岭寒吹角，独戍临江夜泊船」，以「孤城」「独戍」相对，一寒一寂，对仗整饬；「贾谊上书忧汉室，长沙谪去古今怜」，以「贾谊」「长沙」写身世，转折而见深慨。全诗由写景入抒情、由抒情入身世，对仗整饬而句法多变，正是刘长卿七律「羁旅寄慨」的节奏美学。

Reading note The poem's sound matches its consolation: the cadences of the regulated poem, and the close — 'chang sha zhe qu gu jin lian' — falls with the pity, the sound of the consolation of the exiled poet.作为盛唐七律，《自夏口至鹦鹉洲夕望岳阳寄源中丞》的声律之美，在于以清亮的先韵与精工的对仗，写出羁旅相思的苍凉深沉情思。全诗首联「汀洲无浪复无烟」以汀洲江景写江行之开阔，楚客相思写相思之渺远；颔联「汉口夕阳斜渡鸟，洞庭秋水远连天」以汉口夕阳、洞庭秋水写夕望岳阳的所见，一近一远；颈联「孤城背岭寒吹角，独戍临江夜泊船」以孤城独戍写羁旅的孤寂，寒角夜船，苍凉含悲；尾联「贾谊上书忧汉室，长沙谪去古今怜」以贾谊自比写贬谪的身世，深沉收束。全诗由写景入抒情、由抒情入身世，层层递进而声情相谐，正是刘长卿「羁旅寄慨」的体现。就全诗而言，此诗以羁旅之景写相思与身世，尾联以贾谊自比，苍凉而深沉，是刘长卿七律的名篇，与其《长沙过贾谊宅》同为以贾谊写身世之作，而一写「万古惟留楚客悲」的凭吊，一写「长沙谪去古今怜」的自比，可见「贾谊」这一母题在刘长卿笔下的深衷，也可见贬谪诗借古人之杯浇自己块垒的笔法。

Line by line

楚客相思益渺然

A Chu wanderer's longing grows more and more vast,

楚客相思，更加渺远。

A Chu wanderer's longing becomes all the more vast and distant.

这一句写楚客相思之渺远，是此诗由写景转入抒情的关键。「楚客」，写漂泊楚地的游子——楚地即今湖北一带，诗人自夏口至鹦鹉洲，正行于楚地，「楚客」写漂泊楚地的游子（诗人自称），暗用《楚辞》的骚人之意；「相思益渺然」，写相思更加渺远——「益」写更加，「渺然」写渺远无着，那相思之情，因江天之远而更加渺然。以「楚客相思」写相思，比直写「相思」更见身世与古典——那漂泊楚地的游子，本就是骚人悲秋的意象，「楚客相思」写游子之相思，正是「骚人」的深衷；「益渺然」三字，写相思之渺远，正是江行之远的写照。这一句，是此诗由写景转入抒情的关键，也是「贾谊上书」的铺垫——那楚客，正是「长沙谪去」的贾谊。

This line writes a Chu wanderer's longing grows more and more vast, the key to the poem's turning from scenery to feeling. A Chu wanderer writes the wanderer drifting in Chu-land - Chu is today's Hubei region; the poet traveling from Xiakou to Yingwu Islet is precisely in Chu-land; Chu wanderer writes the Chu-drifting wanderer (the poet's self-address), secretly using the Songs of Chu's sao-poet meaning. Longing grows more and more vast writes the longing all the more far - more writes all the more; vast writes distant and ungrounded; that longing, because of the river-sky's distance, is all the more vast. Using a Chu wanderer's longing to write longing is more life-fate-and-classic than directly saying longing - that Chu-drifting wanderer is originally the sao-poet autumn-grief image; Chu wanderer's longing writes the wanderer's longing, precisely the sao-poet's deep heart. More and more vast three characters write the longing's distance, precisely the river-journey far's portrait. This line is the key to the poem's turning from scenery to feeling, also preparing Jia Yi memorialized: that Chu wanderer is precisely Chang'an-exiled Jia Yi.

汉口夕阳斜渡鸟

At Hankou's sunset, birds cross diagonally,

汉口夕阳，斜渡飞鸟。

At Hankou in the setting sun, flying birds cross the river at an angle.

这一句写汉口夕阳下的斜渡飞鸟，是此诗夕望所见的关键。「汉口」，写汉水入江之处——汉口在夏口一带，正是诗人行经之地；「夕阳斜渡鸟」，写夕阳之下，飞鸟斜渡——「夕阳」写夕望之时，「斜渡」写飞鸟斜飞渡江，「鸟」写江上之鸟。以「汉口夕阳斜渡鸟」写夕望，比直写「夕望」更见画面与意境——那夕阳之下，飞鸟斜渡汉口之江，正是夕望的所见；「斜渡」二字，写飞鸟斜飞之态，正是「落霞与孤鹜齐飞」的意境。这一句，是此诗夕望所见的关键，与「洞庭秋水远连天」相对，一近一远，正是夕望的所见，也是「望岳阳」的铺垫——那飞鸟斜渡，正是望乡的寄托。

This line writes at Hankou in the setting sun, flying birds cross the river at an angle, the key to the evening-gazing sight. Hankou writes the Han River's mouth into the Yangtze - Hankou is in the Xiakou region, precisely the poet's traveled ground. In the setting sun, flying birds cross the river at an angle writes under the sunset, birds crossing diagonally - setting sun writes evening-gazing time; cross diagonally writes birds slantingly flying across the river; birds writes the river birds. Using at Hankou's sunset, birds cross diagonally to write evening-gazing is more picture-and-realm than directly saying evening-gazing - under the sunset, birds slantingly crossing Hankou's river, precisely the evening-gazing sight. Cross diagonally two characters write the birds' slant-flying posture, precisely the setting sun and lone wild duck fly together's realm. This line is the key to the evening-gazing sight, set against the autumn waters of Dongting reaching the sky: one near one far, precisely the evening-gazing sight, also preparing gazing at Yueyang - that slant-flying bird is precisely the homesickness's lodging.

贾谊上书忧汉室

Jia Yi memorialized the throne, grieving for the Han house

贾谊上书，忧心汉室。

Jia Yi presented his memorial, grieving for the Han house.

这一句用贾谊之典，写贾谊上书之忧，是此诗由羁旅转入身世的枢纽。「贾谊」，用「贾谊」之典——贾谊为汉文帝时政论家，上《治安策》陈政事，忧心汉室；「上书忧汉室」，写上书忧心汉室——贾谊上书，忧心汉室的安危，正是忠臣的深衷。以「贾谊上书」写身世，比直写「贬谪」更见典故与深衷——那贾谊上书忧汉室，却因谗被贬长沙，正是刘长卿以贾谊自比，写自己的贬谪身世；「忧汉室」三字，写贾谊之忧，正是忠而被贬的深衷。这一句，是此诗由羁旅转入身世的枢纽，也是「长沙谪去古今怜」的铺垫——那贾谊上书之忧，正是贬谪的前因，那「古今怜」的感慨，正是身世的写照。

This line uses the Jia Yi allusion to write Jia Yi memorialized the throne, grieving for the Han house, the pivot from travel to life-fate. Jia Yi uses the Jia Yi allusion - Jia Yi was Emperor Wen's political writer, memorializing the Peace Strategy on state affairs, grieving the Han house. Memorialized the throne, grieving for the Han house writes the memorial grieving the Han house's safety, precisely the loyal minister's deep heart. Using Jia Yi memorialized to write life-fate is more allusion-and-deep-heart than directly saying exile - that Jia Yi memorialized grieving the Han house, yet was slandered and exiled to Changsha, precisely Liu Changqing comparing himself to Jia Yi, writing his own exile lot. Grieving for the Han house three characters write Jia Yi's grief, precisely the loyal-yet-exiled deep heart. This line is the pivot from travel to life-fate, also preparing exiled to Changsha, pitied through the ages: that Jia Yi memorialized grief is precisely exile's prior cause; that pitied-through-the-ages sigh is precisely the life-fate portrait.

Study

Word focus

汀洲 'The, islet, of, the, sandbank' — the sandbank of the water, the no waves of the opening. 「汀洲无浪复无烟」之「汀洲」，写水边平地，是此诗江景意象的核心语。「汀洲」即水边平地——鹦鹉洲为长江中的洲渚，「汀洲」写水边之地，正切鹦鹉洲；「汀洲无浪复无烟」，写汀洲无浪，也无烟——鹦鹉洲畔，风平浪静，无浪无烟，正是江行的开阔。以「汀洲」写江景，比直写「江边」更见具象与古典——那汀洲，是水边的洲渚，也是「芳草萋萋鹦鹉洲」的洲渚，「汀洲无浪复无烟」写江行之开阔；「无浪复无烟」四字，写江天之开阔，正是「楚客相思益渺然」的铺垫。这一词，是此诗江景意象的核心，也是「楚客相思」的背景——那无浪无烟的汀洲，正是相思渺然的江天。

楚客 'The, traveler, of, the, Chu' — the traveler of the Chu, the longing of the poet. 「楚客相思益渺然」之「楚客」，写漂泊楚地的游子，是此诗身世意象的核心语。「楚客」即漂泊楚地的游子——楚地即今湖北一带，诗人自夏口至鹦鹉洲，正行于楚地，「楚客」写漂泊楚地的游子（诗人自称）；「楚客相思益渺然」，写楚客相思，更加渺远。以「楚客」写身世，比直写「游子」更见古典与骚人——那「楚客」，暗用《楚辞》的骚人之意，是悲秋怀乡的意象，也是「长沙谪去」的贾谊；「楚客相思」写游子之相思，正是「骚人」的深衷。这一词，是此诗身世意象的核心，也是「贾谊上书」的铺垫——那楚客，正是以贾谊自比的诗人，那相思，正是身世的感慨。

长沙 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「长沙谪去古今怜」之「长沙」，写贾谊被贬之地，是此诗身世感慨的核心语。「长沙」为贾谊被贬之地——贾谊因谗被贬为长沙王太傅，「长沙谪去」写贾谊贬长沙；「长沙谪去古今怜」，写长沙谪去，古今怜惜——那贾谊贬长沙，古今之人皆怜惜。以「长沙」写贬谪，比直写「贬谪」更见典故与具体——那长沙，是贾谊被贬之地，也是「三年谪宦此栖迟」的所在，正是刘长卿以贾谊自比的贬谪之地；「古今怜」三字，写古今之怜惜，正是身世的感慨。这一词，是此诗身世感慨的核心，也是「贾谊上书」的结局——那贾谊上书忧汉室，却长沙谪去，古今怜惜，正是诗人贬谪身世的写照。