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唐 Tang · 诗 Poem

赋得暮雨送李胄

Farewell to Li Zhou in the Evening Rain

韦应物

Wei Yingwu

离别Parting 写景Scenery 送别Farewell

楚江微雨里，建业暮钟时。
漠漠帆来重，冥冥鸟去迟。
海门深不见，浦树远含滋。
相送情无限，沾襟比散丝。

On the Chu River in the drizzling rain,
At the hour of Jianye's evening bell.
Misty sails come laden with weight,
Dim birds fly lingeringly.
The sea gate is deep and out of sight,
The far-off trees are moist with rain.
Our parting feelings know no bounds,
Our tear-wet sleeves are like the spreading threads.

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Meaning

The poet bids farewell to his friend Li Zhou on the Chu River during an evening rain. The rain weighs down the sails, birds fly slowly, and the distant sea gate and trees are shrouded in mist. The poet's tears mingle with the rain, symbolizing endless sorrow of parting.

楚地江上微雨迷蒙，建业城中暮钟敲响。雨幕中驶来的船帆似更沉重，昏冥里归去的飞鸟飞得迟缓。海门深远望不见，江浦的树木远远含着润泽。相送之情没有穷尽，泪湿衣襟正像那漫天的散丝细雨。

Appreciation

This poem uses vivid imagery of rain and dusk to convey deep parting emotions. The couplet 'Misty sails come laden with weight, Dim birds fly lingeringly' skillfully blends scene and feeling. The final line compares tears to rain, achieving a poignant unity.

【白话串讲】 “漠漠帆来重，冥冥鸟去迟”——暮雨里送别，船帆都显得沉重，飞鸟也飞得迟缓。韦应物把离别的愁，写进了细雨和帆影里。【意象与手法】全诗紧扣「暮雨」二字。首联点题，楚江微雨、建业暮钟，淡远如画；颔联「漠漠帆来重，冥冥鸟去迟」以叠字写雨中景物之迷茫迟缓，暗喻离别之沉重迟留；颈联以远景衬迷蒙；尾联以「散丝」喻雨亦喻泪，情景合一。【情感与主旨】韦应物于唐德宗建中四年（783）出任滁州刺史，此诗为在江边送别友人李胄（一作李舟）所作。「赋得」为科举应试及分题赋诗之体，此为题雨中送别而赋，是韦应物「高雅闲淡」诗风的代表。【名句点睛】常考「漠漠帆来重，冥冥鸟去迟」中「重」「迟」二字的妙处——以物之沉重迟缓写人之离愁；「沾襟比散丝」以雨丝喻泪丝的比喻；以及全诗情景交融、不著一「愁」字而愁自深的含蓄笔法。

Background

Wei Yingwu was appointed governor of Chuzhou around 783 AD. He wrote this poem when seeing off his friend Li Zhou (also known as Li Zhou or Li Bo) by the river during an evening rain. The style 'fude' indicates a set topic for composition. The poem reflects Wei's elegant and tranquil style, akin to his pastoral works.

韦应物（737—约792），京兆长安人，早年任玄宗侍卫，豪纵不羁，安史乱后折节读书，历任滁州、江州、苏州刺史，世称「韦苏州」。此诗为唐德宗建中四年（783）前后出任滁州刺史途中，于建业（今南京）江边送别友人李胄（一作李舟）所作。题中「赋得」是古代分题赋诗或科举应试诗的固定格式，意谓分得某题而赋，表明此诗系友人分题「暮雨送别」而作。「赋得」体本多用于考场，韦应物却把它写成了情韵悠远的送别名篇。时值暮雨，江天迷濛，诗人借眼前之景写别离之情，把「雨」与「别」打成一片，是韦应物「高雅闲淡」诗风的典型代表，与其山水田园诸作气韵相通，而与同时代送别诗的浓情重彩迥异其趣。韦应物早年任玄宗侍卫，亲历安史之乱与盛唐之衰，故其诗于闲淡之中每寓身世之感与民瘼之忧，此诗虽写个人离别，亦透出乱后江南的萧瑟气氛，是理解其『高雅闲淡』背后时代底色的一篇。

Art

The poem closely follows the theme of 'evening rain'. The first couplet sets the scene with the Chu River in rain and the evening bell of Jianye. The second couplet uses reduplicated words 'momo' and 'mingming' to depict the misty scene, and the words 'heavy' and 'slow' are refined to convey emotion. The third couplet extends the view with the deep sea gate and moist trees. The final couplet uses 'scattered threads' as a metaphor for both rain and tears, blending scene and feeling.

全诗紧扣「暮雨」二字，句句写景而句句含情，是「融情入景」的典范。首联「楚江微雨里，建业暮钟时」点题，以「微雨」「暮钟」双起，时空并置——楚江之雨与建业之钟，一视觉一听觉，一迷蒙一苍凉，淡远如画，奠定全诗凄清基调。颔联「漠漠帆来重，冥冥鸟去迟」是全诗精魄：「漠漠」「冥冥」两组叠字写雨幕之迷茫昏冥，「帆来重」写雨湿帆重、行舟迟滞，「鸟去迟」写归鸟在雨中飞得迟缓，「重」「迟」二字既是写物，又是写情——友人离去之船显得沉重，依依不舍之心觉得迟缓，物我相融，一字双关。颈联「海门深不见，浦树远含滋」以「深不见」「远含滋」的远景，把迷蒙推向无边，以景之深远处见情之绵长。尾联「相送情无限，沾襟比散丝」点破题旨，以散丝喻雨喻泪，情景合一，含蓄不尽。全诗不着一个「愁」字，而离愁弥漫于字里行间，正是韦诗「发纤秾于简古，寄至味于淡泊」的高境。全诗以雨贯之，雨即情、情即雨，情景交融至于无间，正是韦诗『不事雕琢而风味自足』的所在，亦是送别诗由盛唐之浓情转向中唐之淡远的标志性作品。

Allusions

The term 'fude' refers to a set topic for poetry, common in imperial examinations. 'Scattered threads' alludes to Zhang Xie's 'Miscellaneous Poem' where rain is compared to scattered threads. The poem seldom uses historical allusions, relying instead on immediate scenery to evoke emotion.

此诗少用故实，重在即景融情，正体现韦应物「不事雕琢而风味自足」的审美取向。「赋得」为古人分题赋诗或科举应试诗的固定格式，意谓「分得某题而赋」，属诗体名目而非典故。「散丝」化用晋代张协《杂诗》「密雨如散丝」之句，把绵绵密雨比作散开的丝缕；韦应物更进一步，以雨丝兼喻泪丝——泪湿衣襟，正如漫天散丝，把自然之雨与离别之泪熔铸为一，是化用前人句而能翻出新意的典范。此外，「楚江」「建业」皆实指长江下游之地望，非用典；「海门」指长江入海处，写江程之远。全诗以白描取象，唯「散丝」一处用典而化于无形，正见韦诗以淡泊见真味的风神。值得留意的是，韦应物写送别而少用送别常典（如折柳、阳关），唯以眼前微雨暮钟、帆重鸟迟写之，正见其以即景写真情的审美取向，与王维『渭城朝雨』之以景写别异曲而同工。又『海门』指长江入海口，写江程之远、别路之长，『浦树』写江浦之树，皆以地名与景物暗写送别之遥；全诗少用典而多用实景地名，正是韦诗以眼前景写真情的本色，淡而有味。

Commentary

Su Shi praised Wei Yingwu for 'expressing richness in simplicity'. The Tangshi Biecai comments that this poem is 'lean in words but full of flavor, with a final metaphorical touch'. Shen Deqian noted its 'leisurely elegance', placing Wei with Wang Wei and Meng Haoran in the pastoral tradition.

韦应物此诗历来被推为送别诗中的淡远之作。宋·苏轼评韦诗「发纤秾于简古，寄至味于淡泊」，此诗正是注脚：写离愁而无一语悲切，只在微雨、暮钟、重帆、迟鸟中轻轻托出。《唐诗别裁》评此诗「淡语俱足，结处兼比」，谓其淡语之中情味俱足，结句兼用比喻而有余韵；清人沈德潜称其「闲雅不惊，最得送别之神」。与王维《送元二使安西》的深挚、李白《送友人》的豪放相比，韦诗以淡雅见长，离愁如水，不激不厉，与孟浩然送别诗的清淡同属一脉而更见空灵。历代选本多录此诗，与《滁州西涧》等并传，是韦应物「高雅闲淡」诗风在送别题材上的代表作，也是唐诗中「以景写情」手法的经典范例。在文学史上，此诗与《滁州西涧》等并传，是韦应物『高雅闲淡』诗风在送别题材上的代表；其以淡语写深情的笔法，开中唐山水闲适诗之先声，对柳宗元、刘长卿等人皆有影响，足见其诗史地位。

Prosody

Form five-character regulated verse五言律诗

Rhyme Pingshui rhyme system, upper level four branches (shi, chi, zi, si)韵脚为时、迟、滋、丝，押平水韵上平四支韵，首句「时」字入韵，属「仄起首句入韵」的定格，一韵到底，音节舒缓悠远。

Tone pattern oblique-tone first line without entering rhyme仄起首句入韵式；中间两联对仗工整，颔联以叠字起句，颈联以虚字收句，平仄声调随情景之迷茫而低回。

Reading note Eight lines with four rhymes, the middle couplets are parallel in structure, describing evening rain farewell.此诗为五言律诗，八句四韵，章法上「起承转合」浑然天成：首联起笔点题，以微雨、暮钟双起，时空并置，定下凄清基调；颔联承写雨中近景，以「漠漠」「冥冥」两组叠字领起，是公认的工对，「帆来重」对「鸟去迟」，动词、名词、形容词皆工，叠字的使用更使声调回环，如雨声淅沥；颈联转写远景，「海门深不见，浦树远含滋」一远一近、一江一浦，虚字「不见」「含滋」相对，把迷蒙推向无边；尾联合笔点题，「相送情无限，沾襟比散丝」由景入情，以比喻收束。全诗对仗精严而不板滞，声调舒缓而情韵悠长，仄起首句入韵的音节正合暮雨苍茫的意境，是五律「以景写情」的典范之作，亦足为揣摩律诗平仄章法之范本。

Line by line

楚江微雨里，建业暮钟时。

In the fine rain over the Chu River, at the evening bells of Jianye.

楚地江上微雨迷蒙，建业城中暮钟敲响。

Over the Chu waters the fine rain drifts misty; in the city of Jianye the evening bells toll.

首联点题，以「微雨」「暮钟」双起，定下全诗凄清淡远的基调。「楚江」点送别之地，长江流经楚地的一段，「建业」点城郭所在，即今南京；一江一城，空间并置。「微雨里」「暮钟时」，一写天气之迷蒙，一写时辰之苍凉，视觉与听觉相济：细雨如烟，江天一片；暮钟沉沉，催人别离。雨与钟皆带愁意，而诗人不著一「愁」字，只以景物淡淡托出。两句无一字写情，而离别的氛围已扑面而来，正是「融情入景」的上乘笔法。以「里」「时」两个虚字收句，音节舒缓，如暮色徐来，为下文「漠漠」「冥冥」的迷茫景象作了铺垫。

The opening couplet marks the title, pairing 'fine rain' with 'evening bells' to set the poem's cold, distant tone. 'Chu River' fixes the place of farewell, the Yangtze where it flows through Chu; 'Jianye' fixes the city, today's Nanjing — river and city set side by side. 'In the fine rain' writes the weather's haze; 'at the evening bells' writes the hour's desolation; sight and sound work together, thin rain like mist over river and sky, deep bells urging parting. Rain and bells both carry grief, yet the poet never says 'grief'; he lets the scenery imply it. Not a word speaks of feeling, yet the mood of parting presses close — the finest art of fusing feeling into scene. The two empty words 'in' and 'at' slow the metre, like dusk settling, and prepare the 'vast' and 'dim' haze to come.

漠漠帆来重，冥冥鸟去迟。

Vast and shrouded, the sails move heavily; dim and dark, the birds fly slowly.

雨幕中驶来的船帆似更沉重，昏冥里归去的飞鸟飞得迟缓。

In the rain-screen the incoming sails seem heavier; in the deepening dusk the homing birds fly slow.

颔联是全诗精魄，以两组叠字与两个炼字写尽雨中送别的迷蒙与沉重。「漠漠」写雨幕之广大迷蒙，「冥冥」写暮色之昏暗深沉，叠字渲染出雨暮交织的氛围；「帆来重」写雨湿帆重、船行滞重——友人乘船离去，船帆被雨打湿，显得格外沉重，此「重」字既写物态，更写离情之重；「鸟去迟」写归鸟在雨中飞得迟缓，此「迟」字既写鸟态，更写送者依依不舍之心。以物之沉重迟缓写人之离愁，物我相融、一字双关，是唐诗炼字的典范。两句对仗工稳，「漠漠」对「冥冥」、「帆来重」对「鸟去迟」，声情与辞情相应，读来如见雨幕沉沉、孤帆远去。

This couplet is the poem's very soul, using two sets of doubled words and two polished verbs to exhaust the mist and weight of a rainy farewell. 'Vast' paints the broad veiling rain; 'dim' paints the darkening dusk; the doubled syllables weave rain and twilight together. 'The sails move heavily' — the rain soaks the sails, the boat drags slow; that 'heavy' names both the thing's weight and the burden of parting. 'The birds fly slowly' — homing birds in the rain lag; that 'slow' names both their flight and the giver's reluctance. Object's weight and slowness stand for human grief, a single word working two ways, the model of Tang verbal refinement. The lines are evenly matched — 'vast' against 'dim', 'sails heavy' against 'birds slow' — sound and sense in accord, and we see the lowering rain, the lone sail drifting off.

海门深不见，浦树远含滋。

The mouth of the river is lost in depth; on the far banks the trees hold their damp.

海门深远望不见，江浦的树木远远含着润泽。

The sea-mouth lies beyond sight in the deep; on the riverbank the far-off trees hold a moist gleam.

颈联写极目远眺之景，以景之深远写情之绵长。「海门」指长江入海之处，友人此去舟行江海，故望海门而「深不见」——江程万里，远不可见，暗写别后相见之难、思念之远；「浦树远含滋」写江浦的树木在雨中远远地含着润泽，「滋」字写出雨湿树色、苍翠欲滴之态，也暗含泪光点点之意。一「深」一「远」，把视线推向天边，迷蒙的雨幕、遥远的江树，正似送者绵绵无尽的目光与情思。两句以远景作衬，不直接写情，而情已在景中：望得越远，离愁越长；景物越润，心绪越湿。此联与颔联一近一远、一动一静，章法井然，为尾联点题蓄势。

The neck couplet writes the far view, using depth and distance to draw out lasting feeling. 'The mouth of the river' is where the Yangtze meets the sea; the friend goes by water, and gazing toward the sea-mouth one 'cannot see it in the deep' — the river road stretches ten thousand li, invisible, implying how hard it will be to meet again, how far the longing. 'On the far banks the trees hold their damp': the 'damp' paints rain-washed trees, green and dripping, and secretly suggests glistening tears. One 'deep', one 'far', push the gaze to the horizon; the misty rain-screen and distant trees are like the giver's unending look and thought. The far view is a foil, feeling not spoken yet already in the scene: the farther one gazes, the longer the grief; the wetter the landscape, the wetter the heart. This couplet, near against far, movement against stillness, sets the stage for the closing line.

相送情无限，沾襟比散丝。

Seeing you off, feeling has no end; tears wet my lapel like drifting threads of rain.

相送之情没有穷尽，泪湿衣襟正像那漫天的散丝细雨。

The sorrow of seeing you off is without end; tears wet my robe just like the drifting threads of rain.

尾联点破题旨，是全诗情感的总收束。「相送情无限」直抒胸臆，点明前面所有景物皆为此「情」而设——微雨、暮钟、重帆、迟鸟、深不见的海门、远含滋的浦树，都是无限离情的投影；「沾襟比散丝」以比喻作结，化用张协「密雨如散丝」之句，以漫天细雨喻泪湿衣襟，雨丝与泪丝交融，分不清是雨是泪。全诗至此，景与情彻底合一：雨即是泪，泪即是雨，送别之情如雨丝般绵绵不尽。一个「比」字举重若轻，把抽象的「情无限」化为可感的「散丝」，含蓄不尽，余味悠长。以景起，以情结，情景交融，正是韦应物送别诗「淡语俱足，结处兼比」的神韵所在。

The closing couplet breaks the theme, the gathering of all feeling. 'Seeing you off, feeling has no end' speaks straight from the heart, declaring that all the earlier scenery existed only for this feeling — fine rain, evening bells, heavy sails, slow birds, the lost sea-mouth, the far-damp trees are all projections of boundless grief. 'Tears wet my lapel like drifting threads of rain' ends in metaphor, adapting Zhang Xie's 'thick rain like scattered threads', comparing tears on the robe to the drifting rain, rain-thread and tear-thread interwoven, neither to be told apart. Here scene and feeling become one: rain is tears, tears are rain, parting sorrow endless as rain threads. The word 'like' does this weightless work, turning the abstract 'feeling without end' into the tangible 'drifting threads', leaving aftertaste long. Beginning in scene, ending in feeling, this is precisely Wei Yingwu's gift — plain words enough, closing with comparison.

Study

Word focus

重 Heavy: describes rain-soaked sails and implies the heaviness of parting feelings. 「漠漠帆来重」之「重」字，是炼字双关的典范。字面上写雨湿船帆、帆布吸水而沉重，是眼前实景——雨中行舟，帆为雨浸，自然滞重；骨子里写离情之重——友人远去，心绪沉重，船之「重」实是情之「重」的投射。一个「重」字把客观物态与主观情感熔于一炉，是典型的「移情」笔法：不是帆重，是心重；不是船迟，是情迟。与下句「迟」字对举，「重」写沉重，「迟」写迟缓，一物一人，相互映发，把送别时那种「欲留不得、欲送难舍」的复杂心绪写得真切可感。若易以「湿」「满」则失其双关，若易以「沉」则失其含蓄，唯「重」字以常语写深衷，举重若轻，正是韦诗炼字「淡而有味」的所在。

迟 Slow: describes the birds' slow flight and reflects the poet's reluctance to part. 「冥冥鸟去迟」之「迟」字，与「重」字同为全诗炼字之眼。字面上写归鸟在昏冥雨幕中飞得迟缓——雨湿羽重，天色昏暗，鸟飞自然迟滞，是眼前实景；骨子里写送者依依不舍之心——鸟犹迟飞，何况离人；鸟之「迟」实是情之「迟」的写照，暗含「望其慢去、恨其速别」的复杂心理。此字妙在以景写情而不著痕迹：不说自己舍不得友人离去，只写鸟飞得迟缓，物态之中自有深情，含蓄蕴藉，正是中国诗「不着一字，尽得风流」的境界。与「重」字配合，「重」写帆之滞重，「迟」写鸟之迟缓，一水一陆、一物一禽，皆染离情，把暮雨送别的氛围渲染到极致，是唐诗中「移情于物」的经典。

散丝 Scattered threads: metaphor for rain and tears, from Zhang Xie's poem. 「沾襟比散丝」之「散丝」二字，是化用前人而自出新意的典范。散丝本指散开的丝缕，晋代张协《杂诗》有「密雨如散丝」之句，以散丝喻密雨；韦应物更进一层，以散丝兼喻雨丝与泪丝——泪湿衣襟，正如漫天散丝，把自然界的雨与离别者的泪熔铸为一，分不清是雨是泪、是景是情。此二字妙在三点：一是比喻贴切，雨丝之密、之细、之绵长，正似泪痕之纵横、愁绪之纷乱；二是情景合一，雨即是泪，泪即是雨，物我无间，是「情景交融」的极致；三是余味悠长，以「比」字轻轻点出，不作渲染，含蓄不尽。以二字收束全诗，举重若轻，正见韦诗「淡语俱足，结处兼比」的高境。