91. 月夜（杜甫）
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现代汉语译文
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今夜鄜州月，闺中只独看。
现代汉语译文
今夜鄜州的月亮，只有她在闺房中独自观看。
杜甫当时被叛军困在长安，妻儿在鄜州。起句不写自己望月，先写妻子独自望月，视角一开始就落在对方身上。
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遥怜小儿女，未解忆长安。
现代汉语译文
远远地怜惜年幼的儿女，他们还不懂得思念在长安的父亲。
「未解忆长安」有两层意思：孩子不懂得思念，也不懂得母亲独自望月的心事。这一联把「独看」的孤独写得更深。
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香雾云鬟湿，清辉玉臂寒。
现代汉语译文
带香的雾气打湿了她如云的鬓发，清冷的月光使她的玉臂生寒。
这两句全写妻子，是杜甫在远方想象的画面：雾湿鬓发，月照玉臂，说明她望月已经很久。写她的美，恰恰是为了写她的苦。
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何时倚虚幌，双照泪痕干。
现代汉语译文
什么时候才能一同倚在薄帐边，让月光双双照着我们，把泪痕照干？
「双照」对首联的「独看」——如今是一个人看，将来盼两个人看。末句用一个问句收束，把团圆写成了尚无着落的期待。
赏析 · Commentary
「对面着笔」的写法 · The Method of Writing from the Other Side
这首最值得说的是视角：明明是杜甫自己在长安思念妻儿，通篇却主要写妻子在鄜州如何望月。这种「从对面写来」的手法，比直说自己难过更有力量——因为它同时完成了两件事：写出了妻子的苦，也写出了杜甫对她的了解和牵挂。一个能把对方的心思写得这么细的人，自己的牵挂有多深，不用再说。唐诗写思念常用这一手，杜甫这首是典型。
What most deserves notice is the viewpoint: plainly it is Du Fu in Chang'an missing his family, yet the poem mainly writes how his wife gazes at the moon in Fuzhou. Writing from the far side carries more force than stating his own sorrow, because it does two things at once: it shows her suffering and shows his knowledge of her and his care. How deep his own care runs needs no telling from a man who can render another's mind so finely. Tang poems of longing often use this move, and Du Fu's is a model.
「未解忆长安」的一石二鸟 · How One Line Does Two Jobs
「遥怜小儿女，未解忆长安」表面写孩子，实际同时推进了两条线。一是孩子的天真：他们太小，还不知道想父亲。二是母亲的孤独：她望月的心事，连儿女都不懂，只能一个人扛。一句诗装着两层意思，而且两层都指向「独」字，这是杜甫的密度。读七律读惯的人初读这首五律，会觉得字少事多，原因就在这里。
I pity from afar my little children, who do not yet understand longing for Chang'an looks like a line about the children but drives two tracks at once. One is their innocence: too young to miss their father. The other is the mother's solitude: even her children do not understand what she keeps before the moon, and she bears it alone. One line carries two senses, and both point at alone — that is Du Fu's density. A reader used to seven-character verse will find this five-character poem carrying much in few words, and here is why.
写妻子容貌的分量 · The Weight of Writing His Wife's Beauty
「香雾云鬟湿，清辉玉臂寒」是杜甫少有的写妻子之美的地方。云鬟和玉臂都是对妻子的想象，而湿和寒是具体的感觉。他不写「她很难过」，只写她站得久了、衣裳湿了、手臂凉了，难过自己就出来了。这种写法把深情藏在细节里，不用一个「爱」字，却比说出来更重。后来的词曲写思念多用直抒，杜甫这一路是另一种传统。
The fragrant mist wets her hair, the clear light chills her arm — this is one of the few places where Du Fu writes his wife's beauty. Cloudlike hair and jade arm are imaginings of her, and wet and chill are exact sensations. He does not write she is sad; he writes only that she has stood long, that her clothes are damp, that her arm has gone cold, and the sadness emerges of itself. The method hides deep feeling in detail, uses not one word of love, and weighs more than saying it. Lyric of later ages often writes longing outright; Du Fu's road is another tradition.