98. 别房太尉墓（杜甫）
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现代汉语译文
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他乡复行役，驻马别孤坟。
现代汉语译文
在他乡又一次奔波赶路，我停下马，向这座孤坟告别。
房琯是杜甫的故交，因事贬死。首联写杜甫在旅途中特意停马，向故人的坟告别。
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近泪无干土，低空有断云。
现代汉语译文
靠近坟墓的地方，泪落之处没有一块干土；低垂的天空里，飘着一片断云。
「无干土」写泪多，「有断云」写天之低。两句一句写人一句写天，都在写一种压抑的、化不开的气氛。
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对棋陪谢傅，把剑觅徐君。
现代汉语译文
当年我陪你下棋，像谢安那样从容；如今你已不在，我只能像季札挂剑那样，在坟前寻访故人的心意。
「谢傅」指谢安，用他淝水之战时从容对弈的典故，比房琯的镇定。「把剑觅徐君」用季札挂剑于徐君墓树的典故，写对亡友的守信与追念。
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唯见林花落，莺啼送客闻。
现代汉语译文
只看见林中花朵飘落，黄莺的啼声送着行人。
末联以声音收尾：花落是看的，莺啼是听的。送客的到底是坟前的人，还是莺声，诗里没有说清，含混处正是余味所在。
赏析 · Commentary
用典如何在悼亡诗里起作用 · How Allusion Works in a Poem of Mourning
第三联连用两个典故，都是关于交往与信义的。谢安的典故写房琯的从容，是回忆；季札挂剑的典故写对亡友的守信，是当下。两个典故一忆一今，把「生前的交谊」和「死后的追念」连起来。悼亡诗用典要谨慎，用错了会显得客套；这里选的两个都指向具体的交往场景（对棋、把剑），所以不空。
The third couplet uses two allusions in a row, both about association and good faith. The Xie An allusion figures Fang Guan's composure and is memory; the Ji Zha sword allusion writes fidelity to a dead friend and is the present. One past and one now, they join the friendship in life to the remembering after death. Allusion in a poem of mourning must be used with care; misused, it sounds like a courtesy. The two chosen here both point at particular scenes of company — chess, a sword — and so are not empty.
「近泪无干土」的写法 · The Method of No Dry Earth Near My Tears
写哭得厉害，常见的办法是说「泪如雨下」。杜甫不这么写，他写泪落之处的土地没有干的——用土地的状态反推眼泪的量，把不能直接量的东西量出来了。这是杜甫常用的手法：不写情绪本身，写情绪造成的痕迹。「低空有断云」同理，天很低、云是断的，都不是好兆头，天地之间的压抑感由此而生。
To write heavy weeping one usually says tears like rain. Du Fu does not; he writes that the ground where the tears fall has no dry patch — inferring the quantity of tears from the state of the earth, measuring what cannot be measured directly. This is his habitual method: not the feeling itself but the trace the feeling leaves. In the low sky a torn cloud works the same way — a sky too low, a cloud broken, neither a good sign, and from them the oppression between heaven and earth arises.
末联的「送客」是谁送的 · Who Sees the Guest Off in the Last Line
「莺啼送客闻」可以有两种理解：一是莺啼之声送别我这个来客，二是莺啼声是坟中故人送客的表示。前一种是实写，后一种是想象。诗里没有指明，读者可以两读。杜甫写悼亡常留这种含混，因为明确的解释会让情绪变实、变轻。一个「闻」字把落点放在听觉上，声音比画面更容易消散，也更像那一天的实况。
An oriole's cry follows the departing guest reads two ways: the bird's song sees off me, the visitor, or the cry stands for the dead friend seeing the guest away. The first is literal, the second imagined. The poem does not specify, and both readings stand. Du Fu often leaves this blur in poems of mourning, for a definite explanation would make the feeling solid and light. The word heard lands on the sense of sound, and sound disperses more readily than sight — and is more like what that day was.