唐 Tang · 诗 Poem
晚次鄂州
Mooring at Ezhou at Dusk
云开远见汉阳城，犹是孤帆一日程。
估客昼眠知浪静，舟人夜语觉潮生。
三湘愁鬓逢秋色，万里归心对月明。
旧业已随征战尽，更堪江上鼓鼙声。
Yet my lonely sail still has a full day's journey to go.
The merchants doze through the day, and so I know the waves lie still;
The boatmen murmur in the night, and I feel the tide begin to rise.
In the Three Xiang my grieving temples meet the autumn colors,
My heart a thousand miles away, facing the bright moon.
My old home is gone, lost to the wars that swept the land—
How can I bear the drumbeats of war upon the river now?
Meaning
A traveler bound northward pauses at Ezhou and, seeing Hanyang yet a day's sail away, is overtaken by loneliness, homesickness, and sorrow at a homeland ruined by war.
云散天开，远方隐约可见汉阳城，可我这只孤帆还需走一天的路程。商贾白天酣睡，可知江面风平浪静；船夫夜半低语，才觉潮水悄悄涨生。流落三湘，愁白双鬓又逢秋色；万里归心，只能对着明月诉说。故乡田园早已毁于战乱，怎堪再听江上阵阵战鼓声声。
Appreciation
The poet moors at dusk and, though the city is in sight, knows a full day's voyage still separates him from rest. Through the dozing merchants and the murmuring boatmen he sets his own sleeplessness against the calm of others. The autumn and the bright moon deepen his melancholy, while the final line turns from personal loss to the wider suffering of the age. The poem is restrained yet heavy, finding the universal in a single traveler's plight.
【白话串讲】 “云开远见汉阳城，犹是孤帆一日程”——卢纶写鄂州晚泊：云开见汉阳城。“估客昼眠知浪静，舟人夜语觉潮生”——“三湘愁鬓逢秋色，万里归心对月明”——“旧业已随征战尽，更堪江上鼓鼙声”——战乱中，他连家业都没了。 【意象与手法】 以“孤帆”自况飘零，“秋色”“月明”叠加愁绪。昼眠与夜语一静一动，从船中人的感官写江潮涨落，细腻真切。“更堪”二字递进，由身世之悲推向国难之痛。 【情感与主旨】 表面写舟行晚泊，内里是安史乱后士人归乡无依的普遍悲慨。旧业随征战尽，是无数流民的共同命运，诗以小见大。 【名句点睛】 “旧业已随征战尽，更堪江上鼓鼙声”——以鼓鼙收束，把个人愁思擂入时代战鼓，余音不绝。
Background
Lu Lun lived through the An Lushan Rebellion and wandered homeless for years. This poem was written on his northward journey from the Xiang-Chu region, when he moored at Ezhou (modern Wuchang, Wuhan) at night; with war still unended, he lamented having no road home.
《晚次鄂州》为唐代卢纶所作，是写晚泊鄂州、乱离思归之情的诗。卢纶（约742—约799），字允言，河中蒲人，唐代诗人（大历十才子之一）。此诗：云开远见汉阳城，犹是孤帆一日程。估客昼眠知浪静，舟人夜语觉潮生。三湘愁鬓逢秋色，万里归心对月明。旧业已随征战尽，更堪江上鼓鼙声。全诗写晚泊鄂州、乱离思归之情，是卢纶诗的名篇。
Art
The whole piece renders feeling through scenery, moving from far to near and from day to night, with time and space unfolding layer by layer. The closing couplet gathers emotion in sound, lifting weight with lightness.
《晚次鄂州》艺术上以晚泊鄂州的描摹与乱离思归之情的深挚见长。全诗八句，层层写来：前四句写晚泊鄂州——“云开远见汉阳城，犹是孤帆一日程”写云开远见汉阳城、犹是孤帆一日程，“估客昼眠知浪静，舟人夜语觉潮生”写估客昼眠知浪静、舟人夜语觉潮生；后四句写乱离思归——“三湘愁鬓逢秋色，万里归心对月明”写三湘愁鬓逢秋色、万里归心对月明，“旧业已随征战尽，更堪江上鼓鼙声”写旧业已随征战尽、更堪江上鼓鼙声。全诗以晚泊鄂州写乱离思归，正是卢纶诗深挚的笔法。
Allusions
Gupi (war drums) commonly stood for war; the Three Xiang broadly refers to the area of modern Hunan, here the place of the poet's exile.
《晚次鄂州》用典在“三湘”“鼓鼙”“估客”。“三湘”写三湘（湖南之地）；“鼓鼙”写战鼓（征战）；“估客”写商贾。全诗以这些意象写晚泊鄂州、乱离思归，用典自然而深挚自见，正是卢纶诗的笔法。
Commentary
The Qing scholar Shen Deqian praised it: 'Clearly a "night" poem, yet written from the word "day"—marvelous.'
《晚次鄂州》是卢纶诗的名篇，也是大历诗中写乱离思归的代表作。此诗写晚泊鄂州、乱离思归之情，向为论者称道。论者多赏其晚泊鄂州的描摹与乱离思归之情的深挚——“云开远见汉阳城，犹是孤帆一日程”写云开远见汉阳城、犹是孤帆一日程，深挚之极；“估客昼眠知浪静，舟人夜语觉潮生”写估客昼眠知浪静、舟人夜语觉潮生，更见其细；“三湘愁鬓逢秋色，万里归心对月明”写三湘愁鬓逢秋色、万里归心对月明，尤见其愁；“旧业已随征战尽，更堪江上鼓鼙声”写旧业随征战尽、更堪江上鼓鼙声，尤见其痛。此诗作于安史之乱后漂泊途中，正是其代表——以晚泊鄂州写乱离思归，正是其诗风。
Prosody
Line by line
云开远见汉阳城，犹是孤帆一日程。
The clouds break and far off I see Hanyang city, yet my lonely sail still has a day's voyage.
云开远见汉阳城，犹是孤帆一日程。
The clouds part, and far off I see Hanyang city; still, my lone sail is a day's journey away.
首写云开远见汉阳城、犹是孤帆一日程，是全诗写晚泊鄂州的起点。“云开远见汉阳城”写云开远见汉阳城——“云开远见汉阳城”写云散天开、远见汉阳城——云开远见汉阳城；“犹是孤帆一日程”写犹是孤帆一日程——“犹是孤帆一日程”写我这孤帆还有一日之程——犹是孤帆一日程。二句写云开远见汉阳城、犹是孤帆一日程：云开远见汉阳城，犹是孤帆一日程。以“云开远见汉阳城”写云散天开、远见汉阳，以“犹是孤帆一日程”写孤帆独行、尚有一日之程，正是卢纶诗写晚泊鄂州的起点——云开汉阳，孤帆一程。
The opening writes the clouds parting to reveal Hanyang, the lone sail still a day's journey - the starting point of the poem's evening mooring at Ezhou. Clouds part, Hanyang visible far off: the sky clearing, the city seen at distance. Still, my lone sail a day's journey: this solitary sail of mine has yet a day's course. One line writes the clearing sky and the far city; the other the lone sail and the remaining day - Lu Lun's starting point for the evening mooring: clouds parting over Hanyang, one more day on the lone sail. The joy of seeing land far ahead is immediately undercut by the day still between; the wanderer's feeling of distance is struck in the first two lines.
估客昼眠知浪静，舟人夜语觉潮生。
Merchants sleep by day, for they know the waves are still; boatmen talk by night, and I feel the tide rising.
估客昼眠知浪静，舟人夜语觉潮生。
The merchants sleep through the day, knowing the waves are calm; the boatmen talk in the night, and I sense the tide rising.
此二句写估客昼眠知浪静、舟人夜语觉潮生，是全诗写舟中情景的深化。“估客昼眠知浪静”写估客昼眠知浪静——“估客昼眠知浪静”用估客之称写商贾白昼酣眠知浪平——估客昼眠知浪静；“舟人夜语觉潮生”写舟人夜语觉潮生——“舟人夜语觉潮生”写船夫夜半低语觉潮涨——舟人夜语觉潮生。二句写估客昼眠知浪静、舟人夜语觉潮生：估客昼眠知浪静，舟人夜语觉潮生。以“估客昼眠知浪静”写商贾昼眠、浪静可知，以“舟人夜语觉潮生”写船夫夜语、潮生才觉，正是卢纶诗写舟中情景的深化——昼眠浪静，夜语潮生。
These two lines write the merchants sleeping by day, the boatmen talking by night - the deepening of the boatboard scene. Merchants sleep by day, knowing the waves are still: the merchants' deep day-sleep tells of calm waters. Boatmen talk by night, and I sense the tide rising: the boatmen's midnight murmur tells the poet the tide is coming. One line writes the merchants' daytime sleep and the known calm; the other the boatmen's night talk and the felt tide - Lu Lun's deepening of the cabin scene: day-sleep, calm waves; night-talk, rising tide. The poet says nothing of his own restlessness; the sleeping merchants and chattering boatmen, observed from without, reveal the wakeful listener all the more.
三湘愁鬓逢秋色，万里归心对月明。
At the Three Xiang, sorrowing brows meet autumn colors; ten thousand li from home, my longing faces the bright moon.
三湘愁鬓逢秋色，万里归心对月明。
At the Three Xiang, my sorrow-faded temples meet the autumn hues; ten thousand li from home, my heart turns homeward beneath the bright moon.
此二句写三湘愁鬓逢秋色、万里归心对月明，是全诗写乱离思归的深化。“三湘愁鬓逢秋色”用三湘之典写三湘愁鬓逢秋色——“三湘愁鬓逢秋色”用三湘之地写流落三湘、愁白双鬓又逢秋——三湘愁鬓逢秋色；“万里归心对月明”写万里归心对月明——“万里归心对月明”写万里归心、独对月明——万里归心对月明。二句写三湘愁鬓逢秋色、万里归心对月明：三湘愁鬓逢秋色，万里归心对月明。以“三湘愁鬓逢秋色”写流落三湘、愁鬓逢秋，以“万里归心对月明”写万里归心、独对明月，正是卢纶诗写乱离思归的深化——愁鬓逢秋，归心对月。
These two lines write sorrowing temples meeting autumn at the Three Xiang, the homeward heart facing the moon - the deepening of exile and longing. The Three Xiang: the region's name, wandering at the Three Xiang, temples turned white with sorrow, now meeting autumn. Ten thousand li from home, my heart turns homeward beneath the bright moon: ten thousand li of longing, alone facing the moon. One line writes the exile among the Three Xiang and autumn meeting sorrow; the other the ten-thousand-li homeward heart and the solitary moon - Lu Lun's deepening of the uprooted longing: sorrowing temples in autumn, the homeward heart facing the moon. The autumnal desolation and the bright moon's chill fuse in the couplet; sorrow for the years and longing for home are one mood.
旧业已随征战尽，更堪江上鼓鼙声。
My old home is spent in war and campaign—how can I bear the war drums on the river?
旧业已随征战尽，更堪江上鼓鼙声。
My old livelihood has perished with the wars; how can I bear the drumbeats on the river?
末用鼓鼙之典写旧业随征战尽、更堪江上鼓鼙声，是全诗写乱离之痛的归结。“旧业已随征战尽”写旧业已随征战尽——“旧业已随征战尽”写旧日家业已随战乱荡尽——旧业已随征战尽；“更堪江上鼓鼙声”用鼓鼙之典写更堪江上鼓鼙声——“更堪江上鼓鼙声”用鼓鼙写战鼓之典写更不堪江上又闻战鼓——更堪江上鼓鼙声。二句写旧业已随征战尽、更堪江上鼓鼙声：旧业已随征战尽，更堪江上鼓鼙声。以“旧业已随征战尽”写家业荡尽、乱离之痛，以“更堪江上鼓鼙声”用鼓鼙写战鼓之典写江上又闻战鼓、归路未平，正是卢纶诗写乱离之痛的归结——旧业荡尽，鼓鼙又闻。
The closing uses the war-drum allusion: the old livelihood perished in the wars, how can the drumbeats on the river be borne - the resolution of the poem's grief of uprooting. My old livelihood has perished with the wars: the old estate and calling swept away in the fighting. How can I bear the drumbeats on the river: the drum allusion writes war drums - how can I bear to hear war drums once more on the river. One line writes the perished livelihood and the pain of disorder; the other the river drumbeats and the all-unsettled road home - Lu Lun's resolution of the grief of uprooting: estate gone, drums heard again. The poem closes not in scenery but in terror - the wars not over, the river drumbeats threatening, and the wanderer's homeward blocked once more.
Study
Word focus
Related Reading
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