194. 自河南经乱，关内阻饥，兄弟离散，各在一处（白居易）
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现代汉语译文
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时难年荒世业空，弟兄羁旅各西东。
现代汉语译文
时世艰难，年成荒歉，祖传的家业已经空了；弟兄们各在一方漂泊，一西一东。
世业指祖传田产。首联十四字交代完战乱的全部损失：年成、家业、兄弟——信息密度极高而语气平静。
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田园寥落干戈后，骨肉流离道路中。
现代汉语译文
战乱之后田园一片寥落，骨肉之亲流离在道路之间。
干戈后、道路中都是时间加地点的定位法：田园的寥落有时刻表，骨肉的流离有路线图。
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吊影分为千里雁，辞根散作九秋蓬。
现代汉语译文
顾影自怜，我们像被拆散在千里之外的雁阵；离了根，又像九秋里吹散的蓬草。
雁行喻兄弟（古乐府「飞鸣行摇，兄弟相从」）、飞蓬喻流离——两个比喻把离散写成两种物态。
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共看明月应垂泪，一夜乡心五处同。
现代汉语译文
今夜我们共看这轮明月，应该都在流泪；一夜之间，五处乡心是一样的。
五处指题目里浮梁、於潜、乌江、符离、下邽五处亲人。‘应垂泪’的‘应’是揣测：他看不见分散的亲人，只能猜他们此刻也同自己一样望月。
赏析 · Commentary
把通讯录写进题目：白居易的纪实癖 · An Address Book in the Title: Bai Juyi's Habit of Documentary Fact
这个长达四十余字的题目是全诗的第一件作品：河南经乱（战事）、关内阻饥（饥荒）、兄弟离散（家庭）、寄上浮梁大兄於潜七兄乌江十五兄兼示符离及下邽弟妹（收件人名单）——信息完整到可以直接存档。白居易的写实癖在这首诗里已经定型：题目承担档案功能，诗只负责情感。这种写法与他的诗论一致（文章合为时而著），也与他做官的习惯一致——他后来写判词、拟诏、奏状，都是把话说得越清楚越好。诗题变成叙述的一部分，是白氏对唐诗体裁的一个贡献。
The title of forty-odd characters is the poem's first work: the troubles in Henan (war), famine in the interior (hunger), brothers scattered (family), and the list of recipients — sent up to my eldest brother at Fuliang, seventh brother at Yuqian, fifteenth at Wujiang, shown also to brother and sister at Fuli and Xagui — complete enough to file. Bai Juyi's documentary habit is already fixed here: the title carries the record, the poem carries the feeling. It matches his poetics (writing should serve the times) and his official habits — his judgments, drafts and memoranda all favor the clearest possible statement. To make the title part of the narrative is one of his contributions to the Tang repertoire.
「应垂泪」：看不见的团圆如何写成 · You Must Be Weeping: How to Write a Reunion That Cannot Be Seen
尾联的技术核心是「应」字：共看明月——他看不见四位兄弟、诸位弟妹，只能推想他们在各自的月下流泪。这个推想结构让一首离散诗同时包含了五个人：五个地点、五轮月亮、五份乡心，靠一个「应」字缝合。前一天他们确实各在一处，但月亮只有一轮——共看明月因此成立：不是团聚，是借月完成的同步。这个写法成为后世中秋诗的原型（苏轼「但愿人长久，千里共婵娟」是它的直系后代），其情感机制都是同一件事：物理的团圆不可得，就用天体的公转来替代。
The technical heart of the closing couplet is the word must: gazing on this same moon — he cannot see his four brothers and the rest, he can only infer them weeping under their own moons. This inference lets one poem of dispersal contain five people at once: five places, five moons, five homesick hearts, stitched by a single must. They are indeed apart tonight, but the moon is only one — the shared gazing therefore holds: not reunion but synchronization by moonlight. The method became the prototype of the mid-autumn poem (Su Shi's may we live long, sharing the fair moon across a thousand li is its direct descendant), all running the same mechanism: physical reunion denied, the orbit of a heaven-body substitutes for it.
雁与蓬：离散的两个标准意象 · Geese and Tumbleweed: Two Standard Images of Dispersal
颈联的两个比喻各有分工：吊影分为千里雁写「形状」——雁阵被拆散，每只都成了孤雁，但队伍的队形还在记忆里；辞根散作九秋蓬写「动力」——蓬草的散是风干的，没有去向，九秋（深秋）连风的方向都不定。一个比喻里还有人（影子），一个比喻里连人都没有了（只剩根与茎）——递进一层的散。白居易用最通行的两个意象收拢全诗的离散主题，妙在通行的意象里安了私人的计量：千里是雁阵的跨度，九秋是蓬草的季节——离散因此有了经纬度。
The two images divide the work: gazing at my shadow, a flock of geese sundered across a thousand li writes the shape — a file of geese broken apart, each a lone bird, yet the formation alive in memory; cut from the root, scatter like autumn tumbleweed writes the motion — the tumbleweed's scattering is wind-dried, directionless, and in deep autumn even the wind has no fixed course. In one image a person remains (the shadow); in the other even the person is gone (only root and stem) — dispersal pressed one step further. Bai Juyi gathers the poem's theme with the two most familiar images, and the familiar images carry private measurements: a thousand li is the span of the goose file, the ninth autumn the season of the weed — dispersal given its coordinates.