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唐 Tang · 诗 Poem

宿府

Lodging at the Headquarters

杜甫

Du Fu

咏怀Reflection 羁旅Sojourn

清秋幕府井梧寒，独宿江城蜡炬残。
永夜角声悲自语，中天月色好谁看。
风尘荏苒音书绝，关塞萧条行路难。
已忍伶俜十年事，强移栖息一枝安。

In clear autumn the advisor's headquarters—the well's plane tree is cold; alone I lodge in the river town, the candle-wax spent.
Through the long night the watch-horn mourns as if speaking to itself; mid-sky the moonlight is fair—but who is there to view it?
Dust of strife drifts on, letters cut off; the passes are desolate, the road hard.
Already I have endured ten years of lonely wandering; I force myself to move and perch, content with a single branch.

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Meaning

A seven-character regulated verse written in autumn 764 while Du Fu lodged at Yan Wu's headquarters in Chengdu. It moves from the chill of a solitary night, through the mournful horn and fair moon, to severed letters and a hard road, closing with ten years of lonely drift and a self-mocking contentment with one branch. The poem is the very type of Du Fu's 'weighty and halted' sojourn grief.

清秋幕府井梧寒，独宿江城蜡炬残。永夜角声悲自语，中天月色好谁看。风尘荏苒音书绝，关塞萧条行路难。已忍伶俜十年事，强移栖息一枝安。

Appreciation

[Plain Paraphrase] Alone in the autumn headquarters the well's plane tree is cold and the candle spent; through the long night the horn mourns as if to itself, the fair moon seen by no one; dust of strife cuts off letters, the passes are desolate and the road hard; ten years of lonely wandering endured, he forces himself to perch on a single branch. [Structure] Couplet by couplet: lodging, night, road, feeling—scene into grief. [Imagery] 'The horn mourns as if speaking to itself' and 'the fair moon—who views it' turn sound and light into loneliness. [Tone] Weighty and halted, the close wry with self-mockery.

【白话串讲】杜甫写《宿府》：“清秋幕府井梧寒，独宿江城蜡炬残”——“永夜角声悲自语，中天月色好谁看”——“风尘荏苒音书绝，关塞萧条行路难”——“已忍伶俜十年事，强移栖息一枝安”——他独宿幕府，写漂泊。【意象与手法】此诗写独宿幕府的感慨，以秋夜写孤寂，是杜甫的名篇。首联写独宿：「清秋幕府井梧寒，独宿江城蜡炬残」写清秋幕府井梧寒、独宿江城蜡炬残——写尽独宿的孤寂；颔联写秋夜：「永夜角声悲自语，中天月色好谁看」写永夜角声悲自语、中天月色好谁看——写尽秋夜的悲凉；颈联写行路：「风尘荏苒音书绝，关塞萧条行路难」写风尘荏苒音书绝、关塞萧条行路难——写尽行路的艰难；尾联写感慨：「已忍伶俜十年事，强移栖息一枝安」写已忍伶俜十年事、强移栖息一枝安——写尽漂泊的感慨。全诗以秋夜写孤寂，写尽独宿幕府的感慨，是杜甫的代表作。【情感与主旨】此诗写独宿幕府的感慨，以秋夜写孤寂，是杜甫的名篇。此诗作于唐代宗广德二年（764）秋，杜甫在成都严武幕府中任职时，夜宿幕府而作。此诗写独宿：清秋幕府井梧寒，独宿江城蜡炬残——写清秋幕府井梧寒、独宿江城蜡炬残，写尽独宿的孤寂；永夜角声悲自语，中天月色好谁看——写永夜角声悲自语、中天月色好谁看，写尽秋夜的悲凉；风尘荏苒音书绝，关塞萧条行路难——写风尘荏苒音书绝、关塞萧条行路难，写尽行路的艰难；已忍伶俜十年事，强移栖息一枝安——写已忍伶俜十年事、强移栖息一枝安，写尽漂泊的感慨。全诗以秋夜写孤寂——那「独宿江城蜡炬残」写尽独宿的孤寂，「永夜角声悲自语」写尽秋夜的悲凉，「已忍伶俜十年事」写尽漂泊的感慨，写尽独宿幕府的感慨，是理解杜甫幕府诗的重要篇章。【名句点睛】常考「清秋幕府井梧寒，独宿江城蜡炬残」写独宿的孤寂；「永夜角声悲自语，中天月色好谁看」写秋夜的悲凉；「已忍伶俜十年事，强移栖息一枝安」写漂泊的感慨；以及全诗以秋夜写孤寂、由景入情的手法。

Background

Du Fu (712–770), styled Zimei, the 'Poet Sage' of Tang realism, wrote this in autumn 764 while serving at the headquarters of Yan Wu in Chengdu. After the An Lushan rebellion he had drifted through the southwest; though he took the post, the stiff courtesy of a headquarters ill suited him. The poem records a night's lodging there, his body in the camp yet his heart with home and state—a key to his late drifting and dependent service.

此诗写独宿幕府的感慨，以秋夜写孤寂，是杜甫的名篇。杜甫（712—770），字子美，巩县（今河南巩义）人，唐代伟大的现实主义诗人，人称「诗圣」。此诗作于唐代宗广德二年（764）秋，杜甫在成都严武幕府中任职时，夜宿幕府而作。安史之乱后，杜甫漂泊西南，入严武幕府以求一官，然幕府生活并不称意。此诗写独宿：「清秋幕府井梧寒，独宿江城蜡炬残」写清秋幕府井梧寒、独宿江城蜡炬残——写尽独宿的孤寂；「永夜角声悲自语，中天月色好谁看」写永夜角声悲自语、中天月色好谁看——写尽秋夜的悲凉；「风尘荏苒音书绝，关塞萧条行路难」写风尘荏苒音书绝、关塞萧条行路难——写尽行路的艰难；「已忍伶俜十年事，强移栖息一枝安」写已忍伶俜十年事、强移栖息一枝安——写尽漂泊的感慨。全诗以秋夜写孤寂，写尽独宿幕府的感慨，是理解杜甫幕府诗的重要篇章。此诗题作「宿府」，正是夜宿严武幕府之作。杜甫于广德二年（764）应严武之邀入幕，然幕府礼数拘束、寄人篱下，诗人并不称意；此诗写夜宿幕府，正见其身在幕府而心念故园、心忧国事的复杂心境，是理解杜甫晚年漂泊与入幕心态的重要材料。

Art

The art has four strands. First, plain description of lodging: 'the well's plane tree is cold, the candle-wax spent' sketches solitude in things. Second, a rhetorical question for grief: 'the horn mourns as if speaking to itself; the fair moon—who views it' makes sound and light lonely. Third, antithesis for the road: 'dust of strife drifts on' against 'the passes are desolate,' 'letters cut off' against 'the road hard.' Fourth, self-mockery for feeling: 'ten years of lonely wandering' and 'force myself to perch on a single branch' cites the wren needing only one twig, a wry contentment. The first couplet lodges, the second nights, the third roads, the fourth feels—scene into grief.

此诗的艺术特色可从四个方面解析。其一，以白描写独宿。首联「清秋幕府井梧寒，独宿江城蜡炬残」以白描写独宿——那「井梧寒」写尽井边梧桐的寒、「蜡炬残」写尽蜡烛将残，以白描写尽独宿的孤寂。其二，以设问写悲凉。颔联「永夜角声悲自语，中天月色好谁看」以设问写悲凉——那「角声悲自语」写尽角声的悲凉、「月色好谁看」以设问写尽无人共赏的孤寂，以设问写尽秋夜的悲凉。其三，以对仗写行路。颈联「风尘荏苒音书绝，关塞萧条行路难」以对仗写行路——那「风尘荏苒」对「关塞萧条」、「音书绝」对「行路难」，以对仗写尽行路的艰难。其四，以自嘲写感慨。尾联「已忍伶俜十年事，强移栖息一枝安」以自嘲写感慨——那「已忍伶俜十年事」写尽十年漂泊、「强移栖息一枝安」写尽强求一枝之安的自嘲，以自嘲写尽漂泊的感慨。四重手法，使此诗以秋夜写孤寂，写尽独宿幕府的感慨，是杜甫的代表作。

Allusions

The diction rests in the sojourn and autumn-night line. 'Well's plane tree' cites the plane that 'one leaf falling, the world knows autumn.' 'Candle-wax spent' echoes Li Shangyin's 'the candle dries only when its ash is gone.' 'Horn mourns as if speaking to itself' belongs with Li He's 'horn-sound fills the autumn.' 'Letters cut off' echoes Du Fu's own 'a family letter is worth ten thousand gold.' 'Road hard' cites the ancient 'Hard Is the Road' theme. 'Single branch' quotes Zhuangzi: the wren in the deep forest needs but one twig. The whole gathers these images to write autumn-night loneliness in Du Fu's weighty hand.

此诗的用语深植于羁旅与秋夜的传统。「清秋幕府井梧寒」令人想到「清秋」写清秋的意象——「清秋节」，也令人想到「幕府」写幕府的意象——「幕府」为军中帐幕，也令人想到「井梧」写井边梧桐的意象——「梧桐一叶落，天下尽知秋」；「独宿江城蜡炬残」令人想到「独宿」写独宿的意象，也令人想到「蜡炬」写蜡烛的意象——「蜡炬成灰泪始干」（李商隐），也令人想到「残」写残尽的意象；「永夜角声悲自语」令人想到「永夜」写长夜的意象——「永夜角声悲自语」正是杜甫的名句，也令人想到「角声」写号角的意象——「角声满天秋色里」（李贺），也令人想到「悲自语」写角声如自语的意象；「中天月色好谁看」令人想到「中天」写天空的意象，也令人想到「月色好谁看」写月色无人共赏的设问；「风尘荏苒音书绝」令人想到「风尘」写战乱风尘的意象——「风尘荏苒音书绝」，也令人想到「荏苒」写时光流逝的意象，也令人想到「音书绝」写音书断绝的意象——「家书抵万金」（杜甫）；「关塞萧条行路难」令人想到「关塞」写关塞的意象——「关塞萧条行路难」，也令人想到「行路难」写行路艰难的意象——《行路难》古题；「已忍伶俜十年事」令人想到「伶俜」写孤苦无依的意象——「伶俜」写孤独漂泊，也令人想到「十年事」写十年漂泊的意象；「强移栖息一枝安」令人想到「一枝安」的典故——《庄子》「鹪鹩巢于深林，不过一枝」，也令人想到「强移栖息」写强求栖息的意象。全诗化用井梧、蜡炬、角声、音书、行路难、一枝安的典故与意象，以秋夜写孤寂，正是杜甫「沉郁顿挫」而善用对仗、承羁旅秋夜传统写感慨的本领。

Commentary

Ranked among Du Fu's headquarters poems and a Tang model for the lone autumn night, it is praised as 'weighty and halted.' Modern readers single out 'the horn mourns as if speaking to itself' and 'ten years of lonely wandering' as key lines. Its worth is condensing, in eight lines, the clear autumn, the cold plane, the spent candle, the self-speaking horn, the unwatched moon, the drifting dust, the cut letters, the desolate passes, the hard road, the ten years, the single branch into one lodging. It stands beside 'Thoughts on a Travel Night' ('drifting, what am I like—a sand-gull between heaven and earth') and continues Zhuangzi's wren, showing Du Fu's self-mockery in drift.

此诗历来被推为杜甫幕府诗的名篇，也是唐人写独宿秋夜的代表。历代论者对此诗评价极高：清人评此诗「以秋夜写孤寂，沉郁顿挫」；近人更指出「永夜角声悲自语，中天月色好谁看」写秋夜的悲凉，「已忍伶俜十年事，强移栖息一枝安」写漂泊的感慨，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以八句的律诗写尽独宿幕府的感慨——那清秋的幕府，那寒的井梧，那独宿的江城，那残的蜡炬，那悲自语的角声，那好谁看的月色，那荏苒的风尘，那绝的音书，那萧条的关塞，那难的行程，那十年伶俜事，那一枝安的栖息，都写尽了杜甫独宿幕府的感慨；那「已忍伶俜十年事，强移栖息一枝安」更写尽十年漂泊、强求一枝之安的自嘲。此诗与杜甫《旅夜书怀》（「飘飘何所似，天地一沙鸥」）同为漂泊名篇，一写「星垂平野阔」的壮阔，一写「独宿江城蜡炬残」的孤寂；又与《庄子》「鹪鹩巢于深林，不过一枝」的典故一脉相承，可见杜甫以自嘲写漂泊的深意。对于今日读者，此诗是理解杜甫幕府诗的窗口，也是中国诗写独宿秋夜的经典——那悲自语的角声，穿越千年，仍在诉说着诗人的孤寂与漂泊。

Prosody

Form Seven-character regulated verse (qi lu)诗·七言律诗

Rhyme Rhymes on han, can, kan, nan, an (Upper-Level Han category), one rhyme sustained, with neat antithesis.七律，押「寒」「残」「看」「难」「安」韵（上平十四寒），一韵到底，对仗工整

Tone pattern A seven-character regulated verse, level-toned rhyme sustained, the antithesis tight; the sound is weighty, matching the grieving tone.此诗为七言律诗，押平声韵，一韵到底，对仗工整，音节沉郁，正合感慨的沉郁。

Reading note Eight lines of seven characters, rhyming on the Han category (han, can, kan, nan, an) without shift; the second and third couplets antithetical. First lodges (clear autumn, spent candle), second nights (self-speaking horn, unwatched moon), third roads (cut letters, desolate passes), fourth feels (ten years, single branch). Read the lodging with weight, the close with wry self-mockery.此诗为七言律诗，八句四联——「清秋幕府井梧寒，独宿江城蜡炬残。永夜角声悲自语，中天月色好谁看。风尘荏苒音书绝，关塞萧条行路难。已忍伶俜十年事，强移栖息一枝安」，押「寒」韵（寒、残、看、难、安），一韵到底。颔联「永夜角声悲自语，中天月色好谁看」与颈联「风尘荏苒音书绝，关塞萧条行路难」对仗工整。全诗以秋夜写孤寂：首联写独宿（清秋幕府井梧寒，独宿江城蜡炬残），颔联写秋夜（永夜角声悲自语，中天月色好谁看），颈联写行路（风尘荏苒音书绝，关塞萧条行路难），尾联写感慨（已忍伶俜十年事，强移栖息一枝安）。诵读此诗，宜以沉郁的语调读「清秋幕府井梧寒」的独宿，以悲凉的语调读「永夜角声悲自语」的秋夜，结句「强移栖息一枝安」要读得自嘲而有余韵，方能传达出杜甫的沉郁顿挫。杜甫律诗以「沉郁顿挫」著称，此诗正是其幕府律诗的典范。

Line by line

永夜角声悲自语，中天月色好谁看

Through the long night the watch-horn mourns as if speaking to itself; mid-sky the moonlight is fair—but who is there to view it?

长夜中号角悲鸣如自语，中天月色虽好有谁来看。

Through the long night the watch-horn mourns as if talking to itself; the moon at mid-heaven is fair, but who is there to see it?

此联是全诗写悲凉的核心，以角声悲自语写秋夜，以月色好谁看写孤寂，写尽秋夜的悲凉，是千古名句。「永夜角声悲自语」写长夜中号角悲鸣如自语——那「永夜」写长夜，「角声悲自语」写号角悲鸣如自语，写尽角声的悲凉；「中天月色好谁看」写中天月色虽好有谁来看——那「中天月色」写中天月色，「好谁看」以设问写有谁来看，写尽无人共赏的孤寂。这句的深意在于：它以「永夜角声悲自语」的悲自语与「中天月色好谁看」的好谁看，写尽秋夜的悲凉——长夜中号角悲鸣如自语，那「永夜角声悲自语」写尽角声的悲凉——长夜漫漫，号角悲鸣，如人自语，那「悲自语」写尽角声的悲凉；中天月色虽好有谁来看，那「中天月色好谁看」写尽无人共赏的孤寂——月色虽好，独宿之人又有谁共赏？那「好谁看」以设问写尽无人共赏的孤寂；那「永夜角声悲自语」写尽角声的悲凉，那「中天月色好谁看」写尽无人共赏的孤寂，一写角声，一写月色，写尽秋夜的悲凉——角声悲自语，月色好谁看，正是独宿幕府之人眼中耳中的秋夜；此联以角声月色写尽秋夜的悲凉，也让此联成为全诗写悲凉的核心与千古名句。若换作直说「秋夜很孤独」，则失其画面；唯以「永夜角声悲自语」写角声、「中天月色好谁看」写月色，写尽秋夜的悲凉，也让此联成为全诗写悲凉的核心。

This couplet is the core of the whole's writing desolation, using the watch-horn's mournful self-talk for the autumn night and the fair moon whom no one sees for the solitude, writing to the full the desolation of the autumn night, the famous line of a thousand ages. Through the long night the watch-horn mourns as if talking to itself writes the horn's mournfulness; the moon at mid-heaven is fair, but who is there to see it writes the solitude of no one to share the sight. The deep meaning lies in that it uses the mournful self-talk of through the long night the watch-horn mourns as if talking to itself and the who is there to see of the moon at mid-heaven is fair, but who is there to see it to write to the full the desolation of the autumn night - the long night dragging on, the horn's mournful sound like a man talking to himself; the moonlight fair, yet who shares it with the lone dweller? One writing the horn, one writing the moonlight, writing to the full the autumn night as it meets the eyes and ears of the man lodging alone in the military office. This couplet writes to the full the desolation of the autumn night through the horn and the moonlight, and makes it the core of the whole's desolation and a famous line of a thousand ages. If one instead directly said the autumn night is very lonely, one would lose the picture; only writing the horn through through the long night the watch-horn mourns as if talking to itself and the moonlight through the moon at mid-heaven is fair, but who is there to see it, writing to the full the desolation of the autumn night, makes this couplet the core of the whole's desolation.

已忍伶俜十年事，强移栖息一枝安

Already I have endured ten years of lonely wandering; I force myself to move and perch, content with a single branch.

已忍受了十年孤苦漂泊之事，勉强移来栖息于这一枝之安。

I have endured ten years of lonely wanderings; now I force myself to settle, finding peace on a single branch.

此联是全诗写感慨的核心，以伶俜十年写漂泊，以一枝安写自嘲，写尽漂泊的感慨，是千古名句。「已忍伶俜十年事」写已忍受了十年孤苦漂泊之事——那「已忍」写已经忍受，「伶俜十年事」写十年孤苦漂泊之事，写尽十年漂泊；「强移栖息一枝安」写勉强移来栖息于这一枝之安——那「强移」写勉强移来，「栖息一枝安」写栖息于这一枝之安（用《庄子》「鹪鹩巢于深林，不过一枝」），写尽强求一枝之安的自嘲。这句的深意在于：它以「已忍伶俜十年事」的十年漂泊与「强移栖息一枝安」的一枝安，写尽漂泊的感慨——已经忍受了十年孤苦漂泊之事，那「已忍伶俜十年事」写尽十年漂泊——安史之乱以来，漂泊十年，孤苦伶俜，那「伶俜十年事」写尽十年漂泊的孤苦；勉强移来栖息于这一枝之安，那「强移栖息一枝安」写尽强求一枝之安的自嘲——如鹪鹩巢于深林，不过一枝，我如今勉强移栖幕府，亦不过求一枝之安，那「强移」写尽勉强求安的自嘲；那「已忍伶俜十年事」写尽十年漂泊的孤苦，那「强移栖息一枝安」写尽强求一枝之安的自嘲，一写漂泊，一写自嘲，写尽漂泊的感慨——这正是杜甫入幕府求一枝之安而心有不甘的写照；此联以十年漂泊、一枝安收束，写尽漂泊的感慨，也让此联成为全诗写感慨的核心与千古名句。若换作直说「我漂泊了十年，现在勉强安定」，则失其用典；唯以「已忍伶俜十年事」写十年漂泊、「强移栖息一枝安」写一枝安，写尽漂泊的感慨，也让此联成为全诗写感慨的核心。

This couplet is the core of the whole's writing the lament, using ten years of lonely wanderings for the drifting and peace on a single branch for the self-mockery, writing to the full the lament of drifting, the famous line of a thousand ages. I have endured ten years of lonely wanderings writes the ten years of drift; now I force myself to settle, finding peace on a single branch uses the Zhuangzi allusion of the wren nesting in the vast forest needs but one branch, writing the self-mockery of forcing a single branch's peace. The deep meaning lies in that it uses the ten years of drift of I have endured ten years of lonely wanderings and the single branch's peace of now I force myself to settle, finding peace on a single branch to write to the full the lament of drifting - since the An Lushan chaos, ten years of wandering, lonely and forlorn; now I force myself to lodge in the military office, seeking but the peace of a single branch. One writing drift, one writing self-mockery, writing to the full the lament - exactly the picture of Du Fu entering the office to seek a single branch's peace yet with an unwilling heart. This couplet closes in ten years of drift and a single branch's peace, writing to the full the lament of drifting, and makes it the core of the whole's lament and a famous line of a thousand ages. If one instead directly said I drifted for ten years and now have settled with difficulty, one would lose the allusive art; only writing the ten years of drift through I have endured ten years of lonely wanderings and the single branch's peace through now I force myself to settle, finding peace on a single branch, writing to the full the lament of drifting, makes this couplet the core of the whole's lament.

Study

Word focus

自语 The word 'speaking to itself' in 'the horn mourns as if speaking to itself' personifies the horn; it also marks the lodger's loneliness, no one to speak with but the sound. 「永夜角声悲自语」之「自语」是写角声的关键词，一个「自语」写尽角声如自语的悲凉。自语者，自己对自己说话也。杜甫以「角声悲自语」写角声，这个「自语」至少有双重意味：其一，写角声之悲——那「永夜角声悲自语」写长夜中号角悲鸣如自语，那「自语」写尽角声如自语的悲凉——号角无人为伴，悲鸣如自语，那「自语」写尽角声的悲凉；其二，写独宿之孤——那「自语」更是写孤寂——角声自语，正见独宿之人无人共语的孤寂，那「自语」写尽独宿的孤寂。以「自语」写角声，正是杜甫写秋夜的枢纽——若换作「悲鸣」「哀鸣」等词，则或失其写角声如自语的拟人，或失其与「独宿」的呼应；唯「自语」二字，以角声如自语写尽角声的悲凉与独宿的孤寂，与「中天月色好谁看」的好谁看相合，写尽秋夜的悲凉，也让「永夜角声悲自语」成为全诗写悲凉的名句。

强 The word 'force' in 'I force myself to move and perch' carries the self-mockery; it shows the reluctant, grudging acceptance of shelter in the camp. 「强移栖息一枝安」之「强」字是写自嘲的关键字，一个「强」字写尽勉强求安的自嘲。强者，勉强、不得已也。杜甫以「强移栖息」写移居幕府，这个「强」字至少有双重意味：其一，写求安之勉强——那「强移栖息一枝安」写勉强移来栖息于这一枝之安，那「强」字写尽求安的勉强——并非心甘情愿，而是勉强移栖，那「强」字写尽勉强求安的无奈；其二，写自嘲之深——那「强」字更是写自嘲——强移栖息一枝安，正见漂泊之人求一枝之安的可怜，那「强」字写尽自嘲。以「强」字写求安，正是杜甫写感慨的枢纽——若换作「暂」「聊」等字，则或失其写勉强求安的无奈，或失其与「已忍伶俜十年事」的呼应；唯「强」字，以一字写尽勉强求一枝之安的无奈与自嘲，与「已忍伶俜十年事」的十年漂泊相合，写尽漂泊的感慨，也让「强移栖息一枝安」成为全诗写感慨的名句。

宿府