134. 喜外弟卢纶见宿（司空曙）
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现代汉语译文
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静夜四无邻，荒居旧业贫。
现代汉语译文
静静的夜里四下没有邻居，住在荒僻处，祖上的家业早已贫薄。
「四无邻」是彻底的孤立，「旧业贫」是家世凋落。开头两句就把处境交代完了。
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雨中黄叶树，灯下白头人。
现代汉语译文
雨中的树落着黄叶，灯下的人是白头。
全诗最出名的一联。不下断语，只把四个物象并排放好：雨、黄叶、灯、白头。颜色、声音、温度都对齐了。
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以我独沉久，愧君相访频。
现代汉语译文
因为我长年独自沉沦，惭愧你一次次来探望。
「独沉久」是说自己久困不达。「愧」是这首诗的态度：被探望的一方感到亏欠。
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平生自有分，况是蔡家亲。
现代汉语译文
你我平生本来就有缘分，何况还是表亲。
「蔡家亲」用羊祜为蔡邕外孙的典，指表亲关系。末句把情谊落在血缘上，理由简单，反而结实。
赏析 · Commentary
「雨中黄叶树，灯下白头人」 · "Yellow-Leaf Tree in Rain, White-Headed Man by the Lamp"
这一联没有动词，也没有比喻，只是把两样东西放在一起：雨里的树和灯下的人。它的效果来自对应关系——雨对灯（冷对暖），黄叶对白头（衰败对衰老），树对人（物对人）。四组对照叠在一处，就成了一种同病相怜。司空曙没有说「我很凄凉」，两句一摆，凄凉自己站起来了。
The couplet has no verb and no figure; it simply puts two things together, a tree in the rain and a man by the lamp. Its force comes from correspondence — rain against lamp (cold against warm), yellow leaves against a white head (decay against age), tree against man. Four pairings stack up, and fellow-feeling is made. Sikong Shu never says "I am desolate"; he sets the two lines down and the desolation stands up on its own.
被探望的人为什么惭愧 · Why the Visited Man Feels Ashamed
第三联的「愧」是这首诗的语气。一般人写朋友来访都写感激，司空曙写的是亏欠：自己多年沉沦，没有起色，反要对方一次次跑来看他。这个角度让全诗的态度变得复杂——既有对情谊的珍惜，也有对自己处境的难堪。写这种不体面的心情，比写感谢更费力，也更真实。
The "shame" in the third couplet sets the poem's tone. Friends visiting usually calls for gratitude; Sikong Shu writes indebtedness — long stalled, no improvement, and the other man coming again and again. The angle complicates the attitude: something prized in the friendship and something unbearable in his own condition at once. Writing that unbecoming feeling costs more than writing thanks and comes closer to the truth.
结尾从困境退回关系 · The Close: From Hardship Back to Relationship
末联的「况是蔡家亲」把诗从自我怜悯里拉出来。前面写的是贫、是病老、是亏欠，末句忽然说：我们本来就是亲戚。这不是安慰，是把关系当作事实摆出来——来访不需要理由，探望不需要报答。司空曙收在这一点上，前六句的沉郁就有了着落。
The last couplet's "and cousins besides" pulls the poem out of self-pity. Before it are poverty, age, illness, indebtedness; then the flat statement that they are kin. This is not comfort, it is relationship set down as fact — a visit needs no reason and no repayment. Ending there, Sikong Shu gives the weight of the six lines somewhere to rest.