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明 Ming · 诗 Poem

甲辰八月辞故里

Leaving My Homeland in the Eighth Month of the Jia-Chen Year

张煌言

Zhang Huangyan

爱国Patriotic 壮志Lofty Ambition

国亡家破欲何之？
西子湖头有我师。
日月双悬于氏墓，乾坤半壁岳家祠。
惭将赤手分三席，敢为丹心借一枝。
他日素车东浙路，怒涛岂必属鸱夷。

My country lost, my home destroyed, where can I go?
By West Lake I have my teachers, on whom I call.
Sun and moon hang high over Minister Yu's tomb;
Half of the land stands the shrine of General Yue.
Ashamed with empty hands to share a seat with them,
I dare for a loyal heart to borrow a stem.
Some day my white car will run on Zhejiang's eastern way;
Will the raging tide belong to the hero's soul, they say?

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Meaning

The poet, facing the fall of the Ming dynasty and his own impending execution, declares his determination to follow the examples of loyal ministers Yu Qian and Yue Fei, who are buried by West Lake. He vows that his spirit will become a raging tide, as fierce as that of Wu Zixu, the ancient hero.

国已亡家已破，我欲往何处？西子湖边有我的师表。日月经天高悬于于谦的墓上，天地间半壁江山有岳飞的祠庙。惭愧我空手难与二公并列三席，岂敢凭一片丹心借得其中一枝。他日素车奔驰在浙东路上，那怒吼的江涛难道只属于伍子胥（鸱夷）么。

Appreciation

The poem was written in 1664 when Zhang Huangyan, defeated in his resistance against the Qing dynasty, bid farewell to his homeland before his execution. He draws courage from the loyal ministers Yu Qian and Yue Fei, whose tombs and shrines lie by West Lake. The first couplet poses a poignant question and gives the answer: to follow the masters at West Lake. The second couplet uses grand cosmic imagery to praise the heroes. The third couplet modestly expresses his unworthiness yet firm resolve. The last couplet alludes to Wu Zixu, vowing that his spirit will become the roaring tide of the Qiantang River. The tone is solemn and heroic, with precise allusions and powerful parallelism.

【白话串讲】抗清失败，张煌言告别故乡赴死：“国亡家破欲何之？西子湖头有我师”——他要像岳飞、于谦那样，把忠骨埋在西湖。“他日素车东浙路，怒涛岂必属鸱夷”。【意象与手法】此诗以绝命之笔写浩然之气。首联设问“欲何之”，答以“西子湖头有我师”，开门见山立殉国主旨【情感与主旨】张煌言（1620—1664），字玄著，号苍水，南明抗清名将。鲁监国时倡义师，与郑成功合兵，屡挫清军【名句点睛】中高考若考，重点：一、颔联“日月双悬”“乾坤半壁”的意象与对仗之妙；二、诗人以于谦、岳飞自况的用意

Background

Zhang Huangyan (1620–1664), style name Xuanzhu, sobriquet Cangshui, was a Ming loyalist general. He led resistance forces along the Zhejiang coast. After the fall of the Ming, he continued fighting. Captured in 1664, he was escorted to Hangzhou. This poem was written on parting from his hometown, just before his execution. The 'West Lake' is in Hangzhou; 'Yu's tomb' is that of Yu Qian, a Ming loyal minister; 'Yue's shrine' is that of Yue Fei, a Song general. The poet takes these two as his models, making his determination clear.

张煌言（1620—1664），字玄著，号苍水，浙江鄞县人，南明抗清名臣、文学家。他于崇祯十五年（1642）中举，明亡之后，奉鲁王朱以海监国，起兵浙东，转战海上，与郑成功合兵北伐，曾攻入长江、兵临南京，终因大势已去而败。康熙元年（1662）永历帝殉国、鲁王亦薨，张煌言见事不可为，解散部众，隐居于浙江象山南田的悬岙岛。康熙三年（1664）七月，因降卒告密，张煌言被清军俘获。八月，他被押解北上杭州，途经故里鄞县，遂作此诗以明志，同年九月七日在杭州弼教坊从容就义。此诗因此具有绝命诗的性质，题为「甲辰八月辞故里」，甲辰即康熙三年。诗中的「西子湖头」指杭州西湖，「有我师」之师即于谦与岳飞：于谦墓在西湖三台山麓，岳飞祠在西湖栖霞岭。张煌言被俘后，清方百般劝降，许以高官，他始终不屈，作此诗表明愿以于、岳二公为师，殉国而不改其志。诗中所言「分三席」「借一枝」，皆就身后安葬西湖、与于岳二公并邻而言，后其遗骸果葬杭州南屏山麓，与岳飞、于谦并称「西湖三杰」，此诗遂成一代殉国志士的心声。张煌言自顺治二年（1645）奉鲁王监国、起兵浙东，至康熙三年被执，海上转战近二十年，历大小百余战，与郑成功三入长江、四攻崇明，忠贞之节为南明诸臣之殿。此诗作于被俘之后、就义之前，故其气之壮、志之坚，皆非凡常之诗可比。

Art

This is a life-ending poem filled with righteous spirit. The first couplet opens with a rhetorical question, establishing the theme of martyrdom. The second couplet uses grand images of sun, moon, heaven, and earth to eulogize Yu and Yue, with powerful parallelism. The third couplet combines humility with ambition. The last couplet transforms the legend of Wu Zixu's white chariot and roaring tide to express his own undying spirit. The style is solemn and vigorous, with apt allusions, ranking among the best of Ming loyalist poems.

此诗为七律，以浩然之气贯注全篇，是殉国志士的绝命之笔。首联「国亡家破欲何之？西子湖头有我师」，以设问起，以作答承，开篇即立殉国主旨。「欲何之」三字写尽国破家亡后的无路可走，「有我师」三字则于绝境中陡然振起，指明归宿。颔联「日月双悬于氏墓，乾坤半壁岳家祠」，以工整的对仗分写于谦、岳飞：「日月双悬」状于谦之功业光耀日月，「乾坤半壁」状岳飞之独撑南宋半壁江山，一墓一祠，一明一宋，而同归于西湖。此联既是写实——二公坟祠确在西湖，又是写意——以日月、乾坤的宏大意象，衬托出二公的不朽。颈联「惭将赤手分三席，敢为丹心借一枝」，笔锋一转，由仰慕二公转而自况：「赤手」言己无尺寸之功，愧与二公并列三席；「丹心」则明己忠贞不贰，敢以一死求得西湖一席安身之地。「惭」与「敢」相对，谦抑之中见出坚定。尾联「他日素车东浙路，怒涛岂必属鸱夷」，用伍子胥素车白马、怒涛卷潮之典，谓他日自己之魂当如伍子胥，乘素车白马往来浙东，那翻腾的怒涛岂是伍子胥一人所专——言外之意，自己亦将化为浙东怒潮，魂兮不灭。全篇由问而答，由仰慕而自况，由明志而展望，一气盘旋，悲壮而不哀戚。对仗精工，用典贴切，浩然之气与忠贞之节相为表里。全诗以问起、以典结，中间两联骈偶精严，而首尾以散行流走，整散相间，气脉贯注，正是七律之正格与殉国者之正气的合一。

Allusions

'Yu's tomb' refers to the tomb of Yu Qian at Santai Mountain by West Lake; 'Yue's shrine' is the shrine of Yue Fei at Qixia Ridge. 'Sun and moon hanging high' alludes to Yu Qian's unwavering loyalty. 'Half of the land' refers to Yue Fei's contribution to preserving half of the Song territory. 'White car' and 'raging tide' allude to Wu Zixu, who, after being unjustly executed, was said to drive a white chariot and cause the Qiantang River's tidal bore. The poet compares himself to Wu Zixu, vowing that his spirit will become the tide.

此诗用典繁密而皆切于忠义。于谦与岳飞，是诗中最直接的两座丰碑。于谦（1398—1457）于土木之变后力排南迁之议，领导北京保卫战，卒以「意欲」二字被诬谋逆而冤死；岳飞（1103—1142）抗金，为秦桧以「莫须有」之罪害于风波亭。二人皆葬西湖，成为忠义的象征。张煌言以二公为师，正是以忠臣殉国自许。「日月双悬」语出《世说新语·容止》记会稽王司马昱语「国家大事，吾未敢与」，及后世「日月双悬」常喻并美二贤，此处以日月之光喻于谦之忠烈，其语亦隐扣文天祥《正气歌》「在地为河岳，在天为日星」之意。「乾坤半壁」则谓岳飞独撑南宋江山。颈联「借一枝」用《庄子·逍遥游》「鹪鹩巢于深林，不过一枝；偃鼠饮河，不过满腹」之典，谓己所求甚微，不过欲借西湖一枝之地安身，谦抑自持。尾联「素车」「鸱夷」皆出伍子胥典。伍子胥尽忠于吴而遭谗赐死，吴王以鸱夷（皮囊）盛其尸投江，世传其魂乘素车白马立于潮头，为钱塘怒潮之神。此典见于《史记·伍子胥列传》及后世《录异记》《吴越春秋》等书。张煌言反用其意——怒涛不必专属伍子胥，己之忠魂亦当与子胥同游，共作浙东潮水。诸典合用，皆归于「忠」之一字，无一虚设。「分三席」之「席」，指坟祠之席位，谓己欲与于、岳二公并列西湖；「借一枝」则自谦，谓不敢与二公争席，但求一枝之地而已，谦抑之中，实含必死之志。

Commentary

This poem is considered one of the greatest martyrdom poems in Chinese history. Full Zuwang commented that Zhang's poems are written with blood and tears. Modern scholar Liu Yazi praised it as the foremost poem of Ming loyalists. The second couplet's grand vision elevates personal sorrow into a national tragedy. The final vow to become the raging tide matches the spirit of Qu Yuan and Wu Zixu.

张煌言不以诗名世，其诗名几为忠烈之名所掩，然其诗自有一种慷慨沉郁之气，为明季遗民诗中的别调。此首《甲辰八月辞故里》因系绝命之作，历来被推为张煌言诗的代表。清初史家全祖望撰《明故权兵部尚书兼翰林院侍讲学士鄞张公神道碑铭》，备述其生平，于其临难从容、赋诗明志诸节，尤致感慨。近人于张煌言诗，多将其与文天祥《过零丁洋》、夏完淳《别云间》并论，视为明末清初殉国诗的鼎足。此诗之传，一则因其人——张煌言就义后葬于西湖，与岳飞、于谦并邻，「西湖三杰」之称遂成定说，诗中所期「分三席」「借一枝」，竟成史实，读来尤令人动容；一则因其气——全诗不作一字涕泣，而以「日月」「乾坤」「怒涛」等宏大意象自任，浩然之气直逼文天祥。清人评明季诗，多病其叫嚣，而此诗虽慷慨却不流于粗豪，颔联颈联对仗精严，典实贴切，于激越之中见出锻炼之功。后世凡论南明史、凡谒西湖三杰者，多引此诗为证，其传播已不限于诗林，而成为一种忠义精神的注脚。张煌言殉国后，鄞人万斯大等收其遗骸，葬于杭州南屏山荔枝峰下，其墓与岳飞墓、于谦墓遥相辉映，后人遂并称「西湖三杰」。清乾隆四十一年（1776）追谥忠烈，入祀忠义祠，其诗文集《张苍水集》亦为后人辑刊行世。

Prosody

Form Poem·Seven-Character Regulated Verse七言律诗

Rhyme Pingshui rhyme, upper level four Zhi (之, 师, 祠, 枝, 夷)平水韵上平四支韵，「之」「师」「祠」「枝」「夷」五字相押，首句入韵，一韵到底

Tone pattern Level-tone opening with first-line rhyme; middle two couplets balanced此诗为七律仄起首句入韵式。首句「国亡家破欲何之」为仄平平仄仄平平（「国」为入声仄），次句「西子湖头有我师」为平仄平平仄仄平，颔联「日月双悬于氏墓」仄仄平平平仄仄、「乾坤半壁岳家祠」平平仄仄仄平平，颈联「惭将赤手分三席」平平仄仄平平仄、「敢为丹心借一枝」仄仄平平仄仄平，尾联「他日素车东浙路」平仄仄平平仄仄、「怒涛岂必属鸱夷」仄平仄仄仄平平。全篇平仄工稳，粘对井然。

Reading note Zhang Huangyan's death poem, the crown of Ming loyalist martyrdom poems, solemn and powerful.此诗为七律正格，仄起首句入韵，韵脚「之」「师」「祠」「枝」「夷」同属平水韵上平四支，五韵一押到底，无一字出韵。「支」韵属齐齿呼，发音细而悠长，本宜于温柔婉转之情，而张煌言用之写殉国之志，反生出一种慷慨中见缠绵的独特声情——悲壮而不粗厉，缠绵而不萎靡。中间两联对仗极工：「日月双悬」对「乾坤半壁」，「于氏墓」对「岳家祠」，皆以宏大之象对宏大之象；「惭将赤手」对「敢为丹心」，「分三席」对「借一枝」，虚字实字相对，工稳而自然。首句「国」「家」皆平声连绵，继以「破」「欲」两个仄声一顿，问句的拗怒之气随之而出；尾联「他日素车」四字，两平两仄相间，读来如车轮辘辘，恰合「素车」疾驰浙东的意象。全诗声律之精，与情感之烈相为表里，是绝命诗中声情并茂的典范。其中「之」「师」「祠」「枝」「夷」五字，皆齐齿细音，读之如见其低回往复，而「素车」「怒涛」二语，又于细音之中突起洪响，正是忠魂不灭的声情写照。

Line by line

国亡家破欲何之

The state is lost, the family broken—whither shall I go?

国已亡家已破，我欲往何处？

The state is fallen, the home destroyed—whither am I bound?

首句以七字写尽国破家亡的绝境，而以「欲何之」一问陡然悬起。这一问不是寻常的迷惘，而是明知无路可走的清醒——国既已亡，家既已破，一个「之」字（往）的落空，正见出天地虽大而无处可投身的悲凉。以问句起篇，在七律中并不多见，而张煌言用之，恰恰打破了首联的板滞，让全诗从一开始就带上了灵魂的叩问。此句亦是全篇的枢纽，后文「西子湖头有我师」的作答，正是对这一问的正面回应：既无处可去，便以死殉国，以西湖为归宿。问得沉痛，答得决绝，一开一合之间，殉国的主题已然立起。

The question. The state is lost, the family broken—whither shall I go? The lost state and broken home and the whither question are the opening. To have asked whither after the fall would be a question; the state-is-lost-the-family-broken-whither-shall-I-go is the question.

日月双悬于氏墓

Sun and moon hang in pair above the tomb of Lord Yu.

日月经天高悬于于谦的墓上

Sun and moon hang side by side above the tomb of Yu Qian.

此句写于谦，以「日月双悬」四字起笔，气象极为阔大。日月是天地间最光明恒久之象，以之状于谦之功业与气节，谓其如日月并悬，光耀千古。于谦于土木之变后力挽狂澜、守卫北京，终以「意欲」之冤被杀，其墓在西湖三台山麓。「双悬」二字尤妙，日月本不可并见于天，诗人偏说「双悬」，正是要写出一种超越常理的、双倍的辉光，以极度的夸张表达极度的崇敬。此句以宏大意象写一人之墓，而不觉空泛，盖因于谦其人足以当之。张煌言仰慕于谦，是因其力主抗战、终遭冤死的身世与自己抗清被俘、将赴刑戮的命运遥相呼应，故下笔尤沉。

Yu Qian. Sun and moon hang in pair above the tomb of Lord Yu. The sun and moon double-hung above Yu Qian's tomb are the first model. To have compared Yu Qian to sun and moon would be a comparison; the sun-and-moon-hang-in-pair-above-the-tomb-of-Lord-Yu is the comparison.

乾坤半壁岳家祠

On half the world stands the shrine of the Yue family.

天地间半壁江山有岳飞的祠庙

On half the land stands the temple of the Yue family.

此句写岳飞，与上句「日月双悬于氏墓」构成工对。「乾坤半壁」四字，谓南宋半壁江山，赖岳飞一人独撑；「岳家祠」即杭州西湖栖霞岭下的岳王庙。以「乾坤半壁」对「日月双悬」，一写岳飞撑持疆土之劳，一写于谦光耀日月之烈，一空间一光景，对仗精严而意象互补。「半壁」二字尤有深意，岳飞当年所守，正是南宋半壁；而张煌言所处的南明，亦只余半壁乃至一隅，历史在此重叠，诗人借岳飞之「半壁」，暗写自己抗清所保的残山剩水。颔联两句，表面上分咏二公，实则句句皆照应自身，是借古人酒杯，浇自己块垒。

Yue Fei. On half the world stands the shrine of the Yue family. The half-land that Yue Fei held and the Yue family shrine are the second model. To have paired Yue Fei with Yu Qian would be a couplet; the on-half-the-land-stands-the-temple-of-the-Yue-family is the couplet.

他日素车东浙路

One day, in a white chariot, along the road of eastern Zhejiang,

他日素车奔驰在浙东路上

One day, a white chariot, on the eastern Zhejiang road,

尾联上句「他日素车东浙路」，用伍子胥典，想象自己死后的魂魄。伍子胥尽忠遭谗，尸投钱塘，魂乘素车白马立于潮头；张煌言亦将就义，故云「他日」——待自己身死之后，魂魄当如子胥，乘素车白马往来浙东。浙东正是张煌言当年起兵、转战之地，他于此处倡义抗清，历十余年，如今被俘北上，仍念兹在兹。「素车」二字，既是用典，又暗含缟素之哀，写自己虽死而魂犹不忘故土。此句由当下的诀别一笔宕开到身后的魂游，时空骤转，把全诗的情感推向一个超越生死的境界，为末句「怒涛岂必属鸱夷」蓄势。

The chariot. One day, in a white chariot, along the road of eastern Zhejiang, —the Wu Zixu white-chariot-on-the-tide allusion is the spirit after death. To have imagined the spirit in a white chariot would be a fantasy; the one-day-in-a-white-chariot-along-the-road-of-eastern-Zhejiang is the fantasy.

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Word focus

师 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「师」字见于首联「西子湖头有我师」，是全诗的精神支点。此字不作「老师」之泛解，而是「师表」「楷模」之谓，且特指葬于西湖的于谦与岳飞。「有我师」三字，语气笃定，无一丝游移，表明张煌言在国破家亡的绝境中，找到了自己精神上的归宿与榜样。古人殉国，或曰报君，或曰殉道，张煌言独以「师」字立言，是将于、岳二公的忠烈人格作为自己效法的对象，殉国之举因此具有了承继前贤、薪火相传的意味。这一个字，让全诗从个人的悲慨，升华为对一种忠义传统的自觉认领，份量极重。

双悬 Hanging in pairs; refers to the sun and moon shining simultaneously, symbolizing Yu Qian's enduring loyalty. 「双悬」二字用于「日月双悬于氏墓」，是颔联的炼字所在。日月本不可并见，诗人偏用「双悬」，是故意违悖物理以求强化——要写出于谦功烈之隆，非一日一月所能尽，须日月并出、双光同照方可形容。这种极度的夸张，在七律中须以真挚的情感垫底，否则便流于叫嚣。张煌言仰慕于谦之切，使「双悬」二字虽夸而不浮。同时，「双」字亦暗应下句的「半壁」，以及颈联的「三席」「一枝」，数字的工对贯穿全篇，见出诗人于悲愤之中仍不失经营的匠心。

鸱夷 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「鸱夷」是尾联的关键词，指盛尸的皮囊，代指伍子胥。此字由《史记·伍子胥列传》而来，吴王夫差以鸱夷盛伍子胥之尸投江，子胥遂为钱塘潮神。张煌言用「鸱夷」而不直称「子胥」，一则以皮囊之轻贱，暗写忠臣不得善终的悲愤；二则以「鸱夷」这一冷僻的物象，避免直露，使怒潮之典更见含蓄。末句「怒涛岂必属鸱夷」反用其意，谓怒涛不必专属伍子胥，己之忠魂亦当与子胥同游浙东。一个「鸱夷」，既是典故，又是自况——张煌言与伍子胥，同为忠而见疑、以身殉国者，借「鸱夷」二字，两代忠魂跨越千年而相认。