77. 望月怀远（张九龄）
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现代汉语译文
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海上生明月，天涯共此时。
现代汉语译文
海上升起一轮明月，远隔天涯的人在这一刻共同望着它。
「生」不用「升」，月亮像是从海里长出来的。首联先把两地拉到同一个时刻，距离的问题从第一句就摆开了。
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情人怨遥夜，竟夕起相思。
现代汉语译文
多情的人（我）怨恨这漫漫长夜，整夜都涌起相思。
「情人」在此指多情的人，即作者自己、抒情主人公，不是今天说的恋人。「怨遥夜」是嫌夜太长，长夜和思念互为因果。
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灭烛怜光满，披衣觉露滋。
现代汉语译文
吹灭蜡烛，是怜惜满室的月光；披上衣服起身，才觉出露水已经滋长。
两句是连贯的动作：先灭烛，因为月光已经够亮；再披衣，走到户外。视野从室内移到室外，时间也从月升拖到深夜。
赏析
开头把海上、天涯和此时放在一起，月亮让远隔两地的人共享一个时刻，却没有缩短实际距离。中间两联不再写辽阔景物，只写夜里的动作：相思、灭烛、披衣、觉露。视野从海天收进室内，又走到露水渐重的户外，时间也从月升拖到深夜。末联把月光想成可以捧在手中赠送的东西，但这个愿望立刻落空，只能回到梦里求一次相会。诗的推进因此很清楚：先有共同所见，再有独自无眠，最后承认现实中的月光能共享，却不能递到对方手中。
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不堪盈手赠，还寝梦佳期。
现代汉语译文
不能把这满手的月光捧去送给你，只好回到床上，在梦里寻一次相会。
「盈手赠」出自陆机「照之有余晖，揽之不盈手」，想说月光可以捧住，但这个念头一出现就落了空。
赏析 · Commentary
共同的月亮怎样写出「见不到」 · How a Shared Moon Makes Separation Visible
开头把海上、天涯和此时放在一起。月亮让远隔两地的人共享一个时刻，却没有缩短实际的距离。中间两联不写辽阔景物，只写夜里的动作：相思、灭烛、披衣、觉露。视野从海天收进室内，又走到露水渐重的户外，时间从月升拖到深夜。末联把月光想成可以捧在手中赠送的东西，念头立刻落空，只能回到梦里求一次相会。推进很清楚：先有共同所见，再有独自无眠，最后承认月光能共享却不能递到对方手里。
The opening places the sea, the ends of the earth, and this moment together. The moon lets people far apart share one hour, but does not shorten the distance between them. The middle couplets leave the vast scene for actions in the night: longing, putting out the candle, donning a robe, feeling the dew. The view contracts from sea and sky into the room, then moves outside as the dew gathers; the time stretches from moonrise into deep night. In the last couplet moonlight is imagined as something one might fill one's hands with and give away, but the wish fails at once, leaving only a meeting in a dream. The movement is exact: a sight held in common, a wakeful night alone, and finally the admission that moonlight can be shared across distance but cannot be placed in the other's hands.
五律的「起承转合」在这里怎么落 · How the Four Moves of Regulated Verse Fall Here
首联起得极开，从海面写到天涯；颔联收进「怨」和「相思」的情绪；颈联转为具体动作，是全诗的转；末联用梦作结。四联没有一个字提到对方在哪里、自己在哪里，全靠月光这一个物件把两头串起来。这种写法省掉所有背景交代，剩下的是两个人的同一时刻——五律篇幅短，正因为省，密度才高。
The opening couplet spreads as wide as possible, from the sea surface to the ends of the earth; the second narrows into the feelings of resentment and longing; the third turns to concrete action and is the poem's pivot; the last closes on a dream. Nowhere in four couplets does a word say where the other person is or where the speaker is; the moon alone links the two ends. This method drops all background and leaves a single shared hour between two people. Regulated verse is short, and it is precisely by omission that it becomes dense.
为什么这是最常被引用的望月诗之一 · Why This Is Among the Most Quoted Moon Poems
「海上生明月，天涯共此时」几乎成了望月的通用句式，原因在于它把一件很私人的事写成了可以共享的经验。人想念远方的人时，看到月亮是常有的事，而这首诗给出了一个说法：你在看，他也在看，同一轮。这个说法不解决任何问题，但它让人在孤独里有了一点凭据。后面三联转而写具体的失眠，反而让首联的普遍性更站得住。
Over the sea the bright moon rises, at the ends of the earth we share this hour has become almost a formula for moon-gazing because it turns a private experience into a shareable one. Looking at the moon while missing someone far away happens to everyone, and this poem supplies a way to say it: you are looking, and so is the other, at the same disk. The statement solves nothing, but it gives solitude a warrant. That the remaining couplets turn to a particular sleeplessness only makes the opening's generality more secure.