81. 杂诗（沈佺期）
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现代汉语译文
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闻道黄龙戍，频年不解兵。
现代汉语译文
听说黄龙戍那个边塞，连年都没有停止过战事。
黄龙戍是唐代东北的戍守要地。「频年不解兵」一句交代背景，全诗从远方的一场持久战争起笔。
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可怜闺里月，长在汉家营。
现代汉语译文
可怜那照在闺房里的月亮，也长久地照在汉家的军营里。
这一联是全诗的枢纽：同一个月亮，照着两处人。闺中和军营之间没有别的联系，只有月光。
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少妇今春意，良人昨夜情。
现代汉语译文
留守的少妇此刻的春愁，征战的丈夫昨夜的思念。
「今春」对「昨夜」，一个拉长一个推近，把两地的时间错开又叠在一起。两句都不写具体内容，只写心意相通。
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谁能将旗鼓，一为取龙城。
现代汉语译文
谁能率领一支军队，一举攻下龙城，结束这场战争呢？
龙城是匈奴祭天之处，代指敌方要地。末句由哀怨转为发问，把出路寄托在一场决胜上。
赏析 · Commentary
两地相思诗的写法 · The Method of a Two-Place Longing Poem
这类诗的关键在于处理「空间」和「时间」。空间上，诗把闺中和军营并列，用月亮作唯一的连线。时间上，「今春」和「昨夜」让两地错开：她在春天想，他在昨夜想，本不是同一刻，但作者把它们摆在一起，读者就感到两人心意同步。这种时空处理不需要任何叙述，十个字就完成了。唐诗写两地相思常走这条路：不写过程，只并置时刻，让读者自己去接。
The key to such poems is handling space and time. In space, the inner rooms and the camp are set side by side with the moon as the only connecting line. In time, this spring and last night pull the two places apart — she is thinking in spring, he was thinking last night, not the same moment at all — yet laid together, the two feel synchronized in their minds. Such handling needs no narration; ten characters do it. Tang poems of longing across distance often take this road: no process, only juxtaposed moments, and the reader makes the connection.
「可怜」在这里怎么读 · How to Read Pitiful Here
「可怜」在唐诗里有两种常见意思：一是可惜、可悯，二是可爱、可羡。这一联的「可怜闺里月」两说都可以通。作可悯读，月亮照着独守的少妇，是同情；作可爱读，月亮既是闺中的伴侣，又远赴军营，带着赞叹。两读的差别在于作者对这位少妇的态度，而诗本身没有给出判断。遇到这类两可的情况，本站不作裁定，把两种读法一并留给读者。
In Tang poetry the word rendered pitiful carries two common senses: to be pitied and to be admired. Both work for the moon of the women's rooms. Read as pity, the moon lit on the wife keeping the house alone invites sympathy; read as admiration, the moon is at once her companion at home and a traveler to the camp, and the line carries praise. The difference lies in how the poet regards the wife, and the poem itself passes no judgment. Where a reading is genuinely open, this site does not decide; it leaves both to the reader.
从边塞回到闺房的视角切换 · The Shift from Frontier Back to the Inner Room
首联写的是边塞的战争，视线在千里之外；颔联一句就把镜头拉回到闺房的月亮上。这种大幅度的视角切换是这类诗能成立的基础——若只写边塞，就是另一首边塞诗；若只写闺怨，就写不出战争的背景。两句之间没有过渡句，靠「月亮」这个同时照见两地的物件一跳而成。唐诗常用这种方法省略交代，读者需要自己补上中间的一步。
The first couplet gives the war on the frontier, the eye a thousand li away; the second pulls the camera back to the moon over the women's rooms in a single line. This large shift of view is what makes the poem possible: write only the frontier and it becomes another frontier poem; write only the inner-room complaint and the war drops out. There is no transitional line between the two; the leap is made by the moon, the one thing that lights both places at once. Tang poems often omit the connecting step this way, and the reader supplies it.