206. 苏武庙（温庭筠）
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现代汉语译文
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苏武魂销汉使前，古祠高树两茫然。
现代汉语译文
苏武在汉朝使者面前悲喜交加、如失魂魄；古庙高树，如今两样都茫然无言。
魂销写的是苏武十九年后见到汉使的那一刻（须发尽白，手持汉节）。首联今昔对撞：人的极端时刻与庙的千年沉默。
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云边雁断胡天月，陇上羊归塞草烟。
现代汉语译文
云边雁阵断绝，只有胡地的月亮；陇上的羊群归圈，烟色漫过塞上的草。
雁断用雁足传书的典（汉朝使者假称汉昭帝射得系帛书的雁，以此诈匈奴，非苏武本人传书）。陇上羊归是牧羊北海（贝加尔湖）十九年的日常——两句一句写音信的断绝，一句写流放的日常。
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回日楼台非甲帐，去时冠剑是丁年。
现代汉语译文
回来的时候，宫中的楼台已不是武帝当年的甲帐；离开的时候，戴冠佩剑的正是壮年。
甲帐是武帝所造甲乙诸帐之首。回日、去时的对仗把十九年压进两句：走时壮年，回来王朝都换了气象——「丁年奉使，皓首而归」（李陵答苏武书）的唐诗版。
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茂陵不见封侯印，空向秋波哭逝川。
现代汉语译文
茂陵中的武帝已看不见他封侯的印绶，他只能空对着秋波，为逝去的岁月痛哭。
茂陵是武帝陵。封侯印是苏武归汉后的封赏（典属国、关内侯）——赏赐来了，赐赏的人不在了。哭逝川用「逝者如斯」——哭的是时间本身。
赏析 · Commentary
一联之内十九年：回日去时的压缩术 · Nineteen Years Inside One Couplet: the Compression of Return and Departure
回日楼台非甲帐，去时冠剑是丁年被推为唐诗里写时间跨度的第一联。它的方法是把十九年折成两个镜头：出发（冠剑、丁年）与归来（楼台、非甲帐）——人没有变老的部分被省略，只展示两端。更妙的是视角的错位：去时看的是自己（年轻），回日看的是宫殿（陌生）——皇帝的甲帐（奢华的行宫）变成了历史名词，苏武自己却还是那个持节的使臣。李陵答苏武书的丁年奉使、皓首而归是这一联的母本，温庭筠用对仗把散文的悲慨重铸成时间的几何：两句话之间隔着十九年与一个王朝的衰变。
When he returned, the palace towers were no longer the armored tents; when he left, cap and sword, he was in his prime — ranked the first couplet in Tang poetry for writing a span of time. The method folds nineteen years into two shots: departure (cap, sword, prime) and return (towers, tents no longer his) — the aging in between is omitted; only the two ends are shown. Subtler is the displaced viewpoint: at departure he looks at himself (young); at return, at the palace (foreign) — the emperor's armored tent has become a historical noun, while Su Wu is still the envoy with his staff. Li Ling's letter, sent forth in his prime, home with a hoary head, is the couplet's source; Wen Tingyun recasts the prose grief into a geometry of time: nineteen years and the decline of a reign between two lines.
雁断与羊归：忠臣生涯的两种时间 · Cut-Off Geese and Homing Sheep: Two Kinds of Time in a Loyal Life
颔联的两句各管一种时间：云边雁断是消息的时间——雁足传书的典故把音信的有无比作候鸟的季候，断绝之后胡天月色依旧升起，只是不再带来任何意义；陇上羊归是日常的时间——牧羊是苏武十九年唯一的内容，羊群的归圈与塞草的烟色构成没有事件的日复一日。一句写期待（雁），一句写落实（羊），期待的时间断头，日常的时间循环——忠臣生涯的全部就在这两种时间的夹缝里。温庭筠把这个题材写得如此安静，是晚唐咏史诗的新风格：不加议论，让物象自己开口。
The second couplet's two lines each govern a kind of time: the cut-off geese are the time of news — the goose-foot letter makes tidings a matter of migration; after the cut the nomad moon still rises, bringing nothing that means anything. The homing sheep is the time of routine — herding was the whole content of nineteen years, the flocks' return and the smoke on frontier grass composing days without event. One line writes expectation (geese), one writes settlement (sheep); the time of expectation is severed, the time of routine goes in circles — the whole of a loyal life lives in the gap between these two times. Wen Tingyun renders the subject with such quiet: no commentary, the objects speak for themselves — the new manner of late-Tang poems on the past.
茂陵不见：忠臣悲剧的最后一块 · The Emperor Cannot See It: the Last Stone in the Loyal Minister's Tragedy
尾联是全诗最狠的一笔：苏武归汉受封（典属国、关内侯），但赐封的武帝已经葬入茂陵——忠臣的圆满结局被抽掉了当事人。空向秋波哭逝川的哭字有双重对象：哭武帝（知遇之人不在）与哭自己十九年的岁月（逝川）。苏武故事的悲剧性历来聚焦在北海牧羊的十九年，温庭筠指出更深处：熬过流放的人未必赢得完整——他活到了封赏，却没活到与赏他的人对视。这个观察让苏武庙这首诗超出了表彰忠臣的常规：它写的是忠臣账簿上永远缺的最后签字。
The closing couplet is the poem's harshest stroke: Su Wu returned, was enfeoffed — and the emperor who bestowed it had entered the Mausoleum; the loyal minister's complete ending is stripped of its other party. In vain facing the autumn waves, weeping for the flowed-away river: the weeping has two objects — the emperor (the one who knew his worth, gone) and his own nineteen years (the river that flowed). The tragedy of Su Wu is usually located in the nineteen years of herding by the North Sea; Wen Tingyun points deeper: to survive exile is not to win whole — he lived to the reward but not to meet the eyes of the bestower. This observation lifts the poem past the convention of honoring loyalty: it writes the final signature forever missing from the loyal minister's ledger.