90. 夜泊牛渚怀古（李白）
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现代汉语译文
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牛渚西江夜，青天无片云。
现代汉语译文
夜泊在牛渚的西江边，青天上没有一片云彩。
牛渚是长江边的一处矶头。「青天无片云」写月夜的空阔，为下文望月怀古铺好背景。
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登舟望秋月，空忆谢将军。
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登上船头眺望秋月，徒然想起了谢尚将军。
「谢将军」指东晋谢尚。据说他月夜泛舟牛渚，听到袁宏吟诗，大为赏识，袁宏从此发迹。李白用这个典故，怀的是知音难遇。
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余亦能高咏，斯人不可闻。
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我也能高声吟咏，只是谢尚那样的人再也听不到了。
「余亦能高咏」是李白式的自信：我才华不输袁宏。「斯人不可闻」一转，把话说回孤独——不是我不能写，是没有人听。
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明朝挂帆席，枫叶落纷纷。
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明天早晨就要挂起船帆启程，那时枫叶正纷纷落下。
末句以景结情：枫叶纷纷，既是秋景，也像心绪。怀古的感慨没有说出结论，交给一片落叶去收。
赏析 · Commentary
怀古诗怎么写「自己」 · How a Poem on the Past Writes the Self
怀古诗容易写成对古人的复述，这首的分量在于第三联：「余亦能高咏」把自己放进了谢尚与袁宏的故事里。这就从「讲一个古事」变成了「我遇到的正是这个故事的反面」——古时有谢尚识袁宏，如今谢尚那样的人没有，我的高咏也就无人可听。怀古落到实处，是因为它接到了当下的处境。若不接自己，古事讲得再热闹也只是知识。
Poems on the past easily become a retelling of ancients, and this one's weight lies in the third couplet: I too can chant aloud puts the speaker inside the story of Xie Shang and Yuan Hong. It turns telling an old tale into I stand at the exact reverse of that tale — then there was a Xie Shang to know a Yuan Hong, now there is no such man, and my chanting has no ear. The past becomes real because it meets the present condition. Without the turn to the self, the old story is only information, however lively.
牛渚与「知音」的主题 · Ox Island and the Theme of the True Hearer
牛渚这个地点在唐诗里几乎和「知音」绑定，因为谢尚识袁宏的故事就发生在这里。后来的诗人经过牛渚，常会想起这件事。李白这首是其中最有名的一首。把地点本身的典故意义用足，是唐诗的常见技巧：同一处山水，因为有一个故事，就不再只是风景。读这首诗若能知道谢尚的典故，第三联的自负与失落才读得出层次。
The place Ox Island is nearly bound to the theme of the true hearer in Tang poetry, for the story of Xie Shang recognizing Yuan Hong happened there. Poets passing later often recalled it, and Li Bai's is the most famous of such poems. To use the allusive meaning of a place itself is a common Tang technique: the same hills and water, because of one story, cease to be mere scenery. Only a reader who knows the Xie Shang story can hear the layers of confidence and loss in the third couplet.
末句为什么不发议论 · Why the Ending Offers No Reflection
怀古诗到了最后，作者常要站出来说一句感慨，比如「古今多少事」。李白没有。他把感慨停在「枫叶落纷纷」这个画面上，让读者自己去接。原因也许是：第三联已经把该说的话说完了——「余亦能高咏，斯人不可闻」，孤独已经点明，再发议论反而重复。以景结情的好处是把情绪延长，读者合上诗，画面还在。
At the end of a poem on the past the author often steps forward with a sigh, something like how many things are past and present. Li Bai does not. He leaves the feeling on the image of maple leaves falling and lets the reader take it up. The reason may be that the third couplet has already said what needed saying — I too can chant, but such a man cannot be heard of now. The loneliness is named; reflection would only repeat it. Closing on scenery draws the feeling out: the reader shuts the poem and the picture stays.