100. 登岳阳楼（杜甫）
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现代汉语译文
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昔闻洞庭水，今上岳阳楼。
现代汉语译文
从前听说过洞庭湖，今天终于登上了岳阳楼。
「昔闻」和「今上」对举，把长久的向往和终于登临放在一起。这一联写得极平，但「昔」「今」两个字里有一生的时间。
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吴楚东南坼，乾坤日夜浮。
现代汉语译文
洞庭湖把吴楚两地分隔在东南，天地仿佛日夜在湖上浮动。
「坼」是裂开，写湖水把陆地分开；「浮」写湖面之大，天地都像浮在上面。十个字写尽洞庭的辽阔。
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亲朋无一字，老病有孤舟。
现代汉语译文
亲戚朋友没有一封信来，年老多病的我，只有一只孤舟相伴。
前两联写景极大，这一联忽然收到极小：没有书信，只有孤舟。这种大幅度的反衬，是这首诗最见功力的地方。
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戎马关山北，凭轩涕泗流。
现代汉语译文
关山以北战马正奔驰不息，我倚着栏杆，涕泪交流。
末句把个人的悲和国家的乱合在一起。「戎马关山北」是时局，眼泪既是为自己，也是为国事。
赏析 · Commentary
写岳阳楼的名作不止一首 · More Than One Famous Poem on Yueyang Tower
岳阳楼是唐诗宋词里出场很多的名胜，孟浩然有「气蒸云梦泽，波撼岳阳城」，范仲淹有《岳阳楼记》。杜甫这首与他们不同的是时间：孟浩然写的是望洞庭的壮阔与求荐的心思，范仲淹写的是政治理想；杜甫写在暮年漂泊、国事未定之际，登楼的第一感受是「昔闻今上」——没有夸张的兴奋，只有终于来到的平静，随后才是天地之大和自身之小。
Yueyang Tower appears often in Tang and Song verse: Meng Haoran has the vapor steams over Cloud-Dream Marsh, the waves shake Yueyang town, and Fan Zhongyan wrote his Record of Yueyang Tower. Du Fu's differs in its time. Meng Haoran writes the grandeur of Dongting and a wish for recommendation; Fan Zhongyan writes a political ideal. Du Fu writes in his drifting last years with the realm unsettled, and his first feeling on the tower is long-heard, now-climbed — no startled excitement, only the calm of finally arriving, and then the size of the world against his own smallness.
「坼」「浮」两个字的分量 · The Weight of Two Words: Split and Float
「坼」是裂开，用在这里，湖水像是把大地劈成了两半，吴楚因此各在一边。这个字有力量，写的是静态地貌，却有动作感。「浮」写湖面辽阔，大到能让天地浮动。两个字都把洞庭写成了可以改变世界格局的东西，比单纯说「大」有力得多。杜甫写景常用这种狠字，与他写情感的克制形成对比。
Split apart lets the lake seem to cleave the land in two, leaving Wu and Chu on either side. The word has force: it describes a static terrain with a sense of action. Float writes the immensity of the water, wide enough to make heaven and earth ride on it. Both words make Dongting something that can reshape the world's arrangement, far stronger than saying vast. Du Fu's landscape writing often uses such hard words, in contrast to the restraint of his feeling.
尾联为什么落到国家 · Why the Ending Lands on the State
这首诗最动人的地方是末联：前面写个人的孤苦（无字、老病、孤舟），到最后忽然加上「戎马关山北」。这一句把视野从岳阳楼拉到北方的战场，个人的悲和时代的乱合流。杜甫的诗常这样收尾——他不止写自己，也写自己在时代里的位置。眼泪流给谁，诗里没有分清，也不必分清。
The most moving part is the last couplet: the personal hardship before it — no letters, age and illness, a lone boat — is joined at the end by war horses north of the passes. The line pulls the view from Yueyang Tower to the northern battlefield, and private grief merges with the disorder of the age. Du Fu's poems often close this way — writing not only himself but his place within his times. For whom the tears fall is not sorted out, and need not be.