150. 书边事（张乔）
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现代汉语译文
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调角断清秋，征人倚戍楼。
现代汉语译文
吹奏的号角声划断了清秋的空气，戍守的士兵倚在城楼上。
「调角」是吹角，「断」是划断。上句写声，下句写人，都没有动作之外的东西。
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春风对青冢，白日落梁州。
现代汉语译文
春风面对着王昭君的坟冢，落日沉入梁州。
「青冢」是昭君墓。「梁州」在今陕西南部。上句写历史，下句写眼前，一虚一实。
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大漠无兵阻，穷边有客游。
现代汉语译文
大漠上没有军队阻隔，最远的边地也有旅客来往。
「无兵阻」是和平的景象，「有客游」是通行的景象。两句合起来写边地的安宁。
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蕃情似此水，长愿向南流。
现代汉语译文
蕃人的心意就像这条河的水，长久地希望向南流。
「蕃情」指吐蕃等边地民族的心意。「向南流」是比喻归向中原。末句写的是对和平的期待。
赏析 · Commentary
写边塞的和平景象 · Writing a Frontier at Peace
边塞诗大多写征战或思乡，这首写的是和平：号角还在吹，但大漠无兵阻，旅客能通行，诗人甚至希望边地民族的心像河水一样流向中原。张乔选的题目很特别——用边塞的题材写边塞的安宁。这类诗在唐代不多，因为读者习惯边塞的血与雪，写安宁反而需要更多具体的支撑。
Frontier poems mostly write campaigns or homesickness; this one writes peace: the horn still sounds, but there are no troops barring the desert, travellers come and go, and the poet even hopes the frontier peoples' hearts flow south like the river. Zhang Qiao's subject is unusual — using frontier material to write frontier calm. Such poems are rare in the Tang, since readers expect blood and snow on the frontier and calm needs more concrete support.
「青冢」的作用 · What "Green Tomb" Is Doing
第二联上句写昭君墓，下句写梁州的落日。昭君是历史上汉与匈奴和亲的象征，把她和落日的边地并列，等于用一段旧事为眼前的和平作注：这条路曾经要靠和亲维持，如今有客可游。张乔没有展开议论，只放了一个地名，历史的分量就压进来了。
The second couplet's first half is Zhaojun's grave, the second the setting sun at Liangzhou. Zhaojun is the historical emblem of marriage alliances between Han and the Xiongnu, and setting her beside a frontier sunset comments on the present peace with an old story: this road once depended on a marriage alliance, and now travellers walk it. Zhang Qiao argues nothing, sets down one place name, and the weight of history presses in.
末句的比喻 · The Figure in the Last Line
「蕃情似此水，长愿向南流」把政治愿望写成一个自然现象：水往南流是不需要理由的，所以边境归向中原也应该如此。张乔用「长愿」表明这是一种期待而不是已有的事实。写和平的诗，这么收既不乐观过头，也说清了立场。
"Barbarian feeling like this water, always wishing to flow south" turns a political hope into a natural fact: water flows south for no reason, so frontier allegiance to the centre should follow the same course. The word "always wishing" marks it as an expectation and not an accomplished fact. For a poem on peace, this close is neither over-optimistic nor vague about where the poet stands.