99. 旅夜书怀（杜甫）
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现代汉语译文
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细草微风岸，危樯独夜舟。
现代汉语译文
微风吹拂着岸边的细草，高高的桅杆下，夜里独自泊着一只小船。
「细」「微」「危」「独」四个字都带小和孤的意思，首联十四个字里，情调已经定死。
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星垂平野阔，月涌大江流。
现代汉语译文
星星低垂，平野显得辽阔；月光涌动，大江奔流而去。
这一联忽然放开：从一只小船写到平野和大江。前句写静，后句写动；两句都是名句，气象极大。
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名岂文章著，官应老病休。
现代汉语译文
名声难道是因为文章而显扬的吗？做官倒是应该因为年老多病而罢休了。
两句都是反语。「岂」「应」两个字带出不平：名声不靠文章，做官也不是因为老病，而是被人排挤。
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飘飘何所似，天地一沙鸥。
现代汉语译文
我这飘飘荡荡的一生像什么呢？就像天地间一只沙鸥。
末句用沙鸥自比：鸟在天地间飞，无枝可依，正如杜甫的漂泊。这个比喻把身世之感托付给一只鸟，收得轻，也收得重。
赏析 · Commentary
「星垂平野阔，月涌大江流」的气象 · The Scope of Stars Hang Low, the Moon Surges
这两句常被举为杜甫写景的代表。好处在于视角：星低垂是因为平野辽阔，视线放远，星星才显得压下来；月涌是因为江水在流，月光随波起伏。两句都没有说「大」，却写出了极大的空间。与前两联的一只小船对照，个人的渺小和天地的辽阔同时呈现，为末联的自比沙鸥铺好了路。
These lines are often cited as representative of Du Fu's landscape writing. Their merit is the viewpoint: stars hang low because the plain is wide — look far enough and the stars seem to press down; the moon surges because the river is flowing, and moonlight rises and falls with the waves. Neither line says vast, and together they make a vast space. Against the lone boat of the opening, the smallness of a person and the wideness of heaven and earth appear at once, laying the ground for the gull at the end.
「名岂文章著」的不平之气 · The Grievance in Is a Name Made by Writing
杜甫的一生，诗名极高，仕途极不顺。这一联表面是自问自答，实际是反话：我的名声难道只是因为会写文章吗？我的官职难道真是因为老病才丢的吗？两个反问都指向同一个事实——他真正想做的经世事业没有做成。写在漂泊的夜里，语气看似平静，底下是压了半辈子的不甘。
Du Fu's life held great poetic fame and a thoroughly obstructed career. This couplet looks like self-questioning and is in fact irony: is my name only from writing? did I really lose my post to age and illness? Both questions point at one fact — the work he truly wanted to do in the world went undone. Written on a night of drifting, the tone seems calm; underneath is half a lifetime of resentment held down.
沙鸥这个比喻为什么用得好 · Why the Gull Works as a Figure
沙鸥在古典诗里常有两个意思：一是自由无拘，二是漂泊无依。杜甫取的是后者。他用「天地」和「一」把对比拉开——天地极大，鸟极小；而这一只鸟没有伴，没有巢，正像他此时离开成都、漂泊江上。更妙的是，这个比喻既写景也写人，读者可以把它当作眼前的水鸟，也可以当作诗人的自况，两读都对。
The gull in classical poetry often carries two senses: untrammeled freedom, or rootless drifting. Du Fu takes the second. Heaven and earth against one opens the contrast — the world enormous, the bird minute; and this bird has no mate, no nest, exactly like him leaving Chengdu and drifting on the river. Better still, the figure writes both scenery and person: the reader can take it as a waterfowl in view or as the poet's own image, and both hold.