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唐 Tang · 诗 Poem

微雨夜行

Walking, in, the, Night, of, the, Fine, Rain

白居易

Bai Juyi

秋夜autumn 写景Scenery

漠漠秋云起，稍稍夜寒生。
但觉衣裳湿，无点亦无声。

The, vast, the, autumn, clouds, rising,
The, slight, the, night, cold, growing.
Only, feeling, the, clothes, wet,
No, drops, and, no, sound.

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Meaning

A poem of the night and the fine rain, written by Bai Juyi. The vast the autumn clouds rising, the slight the night cold growing — the night of the opening. Only feeling the clothes wet, no drops and no sound — the rain of the close. The poem is the night and the fine rain: the clouds, the cold, and the close's rain.

漠漠秋云起，稍稍夜寒生。但觉衣裳湿，无点亦无声。

Appreciation

[Plain Paraphrase] The, vast, the, autumn, clouds, rising, the, slight, the, night, cold, growing. Only, feeling, the, clothes, wet, no, drops, and, no, sound. [Structure and Thought] The poem moves from the night of the autumn clouds and the night cold with the vast and the slight, through the feeling of the wet, to the close's the no drops and no sound. [Key Technique] The poem's art is the close of the fine rain: the vast the autumn clouds rising, and the close's only feeling the clothes wet no drops and no sound — the night gathered in the feeling and the close's rain. [Emotional Tone] Quiet, fine, and subtle: the poem is the clouds, the cold and the close's rain.

【白话串讲】白居易写《微雨夜行》：“漠漠秋云起，稍稍夜寒生”——“但觉衣裳湿，无点亦无声”——他在夜雨里走——只觉衣裳湿了，却看不见雨点、听不见雨声——他写微雨的细。【意象与手法】此诗写夜行，以微雨写夜行，是白居易的名篇。前二句写夜景：「漠漠秋云起，稍稍夜寒生」写漠漠秋云起、稍稍夜寒生——写尽夜行的秋云；后二句写微雨：「但觉衣裳湿，无点亦无声」写但觉衣裳湿、无点亦无声——写尽夜行的微雨。全诗以微雨写夜行，写尽夜行的秋云与夜行的微雨，是白居易的代表作。【情感与主旨】此诗写夜行，以微雨写夜行，是白居易的名篇。此诗写白居易秋夜行路时遇微雨。白氏晚年多闲适之作，此诗写夜行的细微感受：秋云漠漠，夜寒渐生，衣裳渐湿而无雨点、无雨声，正是微雨的写照。此诗写夜景：漠漠秋云起，稍稍夜寒生——写漠漠秋云起、稍稍夜寒生，写尽夜行的秋云；但觉衣裳湿，无点亦无声——写但觉衣裳湿、无点亦无声，写尽夜行的微雨。全诗以微雨写夜行——那「漠漠秋云」写尽夜行的秋云，「无点亦无声」写尽夜行的微雨，写尽夜行的秋云与夜行的微雨，是理解白居易闲适诗的重要篇章。【名句点睛】常考「漠漠秋云起，稍稍夜寒生」写夜行的秋云；「但觉衣裳湿，无点亦无声」写夜行的微雨；以及全诗以微雨写夜行、以细腻写感受的手法。

Background

Bai Juyi (772-846), the great poet of the Tang, wrote this 'Walking, in, the, Night, of, the, Fine, Rain' of the night and the fine rain — the subtlety of the fine rain. The autumn clouds with the night cold, the feeling of the wet, and the close's the no drops and no sound — the poem gathers the subtlety of the poet, the fineness of the rain. The poem is one of the famous works of the poet's short poems of the rain.

此诗写夜行，以微雨写夜行，是白居易的名篇。白居易（772—846），字乐天，号香山居士，下邽（今陕西渭南）人，唐代诗人，与元稹并称「元白」。此诗写白居易秋夜行路时遇微雨。白氏晚年多闲适之作，此诗写夜行的细微感受：秋云漠漠，夜寒渐生，衣裳渐湿而无雨点、无雨声，正是微雨的写照。此诗写夜景：「漠漠秋云起，稍稍夜寒生」写漠漠秋云起、稍稍夜寒生——写尽夜行的秋云（漠漠秋云起，稍稍夜寒生）；「但觉衣裳湿，无点亦无声」写但觉衣裳湿、无点亦无声——写尽夜行的微雨（但觉衣裳湿，无点亦无声）。全诗以微雨写夜行，写尽夜行的秋云与夜行的微雨，是理解白居易闲适诗的重要篇章。白居易晚年退居洛阳香山，多写闲适诗，此诗即其细察物候之作。诗题「微雨夜行」，明写夜行遇微雨。诗中「但觉衣裳湿，无点亦无声」正是秋夜微雨的实感——雨细到看不见雨点、听不见雨声，只觉衣裳渐湿，若非亲身夜行，不能道此。此诗可见白居易对自然物候的敏锐体察，也见其晚年诗境的平淡自然。

Art

The poem's art is the art of the fine rain. The night opens: the, vast, the, autumn, clouds, rising — the autumn clouds of the rising; the, slight, the, night, cold, growing — the night cold of the growing. The fine rain follows: only, feeling, the, clothes, wet — the clothes of the wet; no, drops, and, no, sound — the no drops and no sound — the clouds, the feeling and the close's rain, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以云起写秋意。「漠漠秋云起」以云起写秋意——那「漠漠」写尽云的低迷，以云起写尽夜行的秋意。其二，以寒生写夜。「稍稍夜寒生」以寒生写夜——那「稍稍」写尽寒的渐生，以寒生写尽夜行的夜寒。其三，以触觉写微雨。「但觉衣裳湿」以触觉写微雨——那「衣裳湿」写尽衣湿的触觉，以触觉写尽微雨的细密。其四，以反衬写微雨。「无点亦无声」以反衬写微雨——那「无点」「无声」写尽无雨点的无声，以反衬写尽微雨的微妙。此外，此诗前二句写夜行的秋云，后二句写夜行的微雨，由景及感，正是闲适诗「即景体物」的写法。四重手法，使此诗以微雨写夜行，写尽夜行的秋云与夜行的微雨，是白居易的代表作。此诗还善于以「但觉」二字写体物的细腻——不说下雨，而说只觉衣裳湿，从触觉着笔，正见微雨之微。又善以前后相映——前二句写「漠漠秋云」「稍稍夜寒」的远景寒意，后二句写「衣裳湿」「无点无声」的近感体察，由远及近、由景及感，层次井然，正见白诗布局的浑然。

Allusions

'The autumn clouds' (qiu yun) are the autumn clouds — the clouds of the autumn, the rising of the opening; 'the night cold' (ye han) is the night cold — the cold of the night, the growing of the opening; 'the no drops and no sound' (wu dian yi wu sheng) is the no drops and no sound — the drops of the none, the sound of the none — the fineness of the close.

此诗的用语深植于夜行与微雨的传统。「漠漠」令人想到「漠漠」写迷茫的意象——韩愈《晚春》「杨花榆荚无才思，惟解漫天作雪飞」亦有「漠漠」之景，也令人想到「漠漠水田飞白鹭」（王维）的意象；「秋云」令人想到「秋云」写秋云的意象——也令人想到「秋阴不散霜飞晚」（李商隐）的意象；「衣裳湿」令人想到「衣裳湿」写沾湿的意象——也令人想到「山路元无雨，空翠湿人衣」（王维）的意象；「无点亦无声」令人想到「无点无声」写微雨的意象——也令人想到「随风潜入夜，润物细无声」（杜甫）的意象；「夜寒」令人想到「夜寒」写夜寒的意象——也令人想到「夜半钟声到客船」（张继）的意象。全诗化用漠漠、秋云、衣裳湿、无点无声的意象，以微雨写夜行，正是白居易「平易近人」而善体物、承写景传统写微雨的本领。「漠漠」二字为唐诗写迷蒙之景的常用语，王维《积雨辋川庄作》「漠漠水田飞白鹭」、韩愈《同水部张员外籍曲江春游》「漠漠轻阴晚自开」皆用之，白居易以「漠漠秋云」写秋云的迷蒙，正见其承唐人写景用语的传统。又「衣裳湿」暗合王维《山中》「空翠湿人衣」之意，而以「无点亦无声」翻出微雨的新境，正见其善学前人而能出新。

Commentary

This poem is one of the famous works of Bai Juyi's short poems of the rain, quoted for the quiet of its night and the subtlety of its close. The clothes of the wet, and the no drops and no sound, are among the admired passages of the poet's short poems. Critics praise the poem's subtlety: the night gathered in the feeling, to the close's rain.

此诗历来被推为白居易闲适诗的名篇，也是唐人写微雨的代表。历代论者对此诗评价极高：清人评此诗「以微雨写夜行，细腻入微」；近人更指出「但觉衣裳湿，无点亦无声」写夜行的微雨，是此诗的名句。在诗歌史上，此诗的特殊价值在于：它以四句的绝句写尽夜行的秋云与夜行的微雨——那漠漠的秋云，那稍稍的夜寒，那湿了的衣裳，那无点的雨，那无声的雨，都写尽了白居易笔下的微雨夜行；那「无点亦无声」更以反衬写尽微雨的微妙。此诗与白居易《早秋独夜》等夜行小诗同为闲适名篇，也与王维《山中》「空翠湿人衣」的细雨传统一脉相承，可见唐人写微雨的传统。对于今日读者，此诗是理解白居易闲适诗的窗口，也是中国诗写微雨的经典——那无点无声的细雨，穿越千年，仍在诉说着夜行的细腻。又此诗与谢朓《秋夜》「秋夜促织鸣」、陶渊明「微雨从东来」等写微雨秋夜之作一脉相承，而以「无点亦无声」写微雨之微，最为工细，可见白居易体物之精。

Prosody

Form A quatrain of the rain (wu yan jue ju)诗·五言绝句

Rhyme The poem rhymes on the level of the group — the cadence of the quatrain that carries the subtle fineness.五绝，押「生」「声」韵（下平八庚），一韵到底，音节轻淡

Tone pattern The cadence is that of the fine rain: the level opening with the night, the turning with the feeling, and the close's fall with the silence.此诗为五言绝句，押平声韵，一韵到底，音节轻淡，正合微雨的轻淡。

Reading note The poem's sound matches its subtlety: the cadences of the quatrain, and the close — 'wu dian yi wu sheng' — falls with the silence, the sound of the fineness of the night rain.此诗为五言绝句，四句——「漠漠秋云起，稍稍夜寒生。但觉衣裳湿，无点亦无声」，押「庚」韵（生、声），一韵到底，音节轻淡。全诗以微雨写夜行：前二句写夜行的秋云（漠漠秋云起、稍稍夜寒生），后二句写夜行的微雨（但觉衣裳湿、无点亦无声）。四句短章，前写夜景，后写微雨，以「无点亦无声」写尽夜行的微雨，正见白居易「平易近人」的本色。诵读此诗，宜以轻淡的语调读「漠漠秋云起」的夜景，以细微的语调读「无点亦无声」的微雨，结句要读得轻淡而有余韵，方能传达出白居易的细腻入微。白居易绝句以「平易自然」著称，此诗正是其闲适绝句的典范。

Line by line

但觉衣裳湿，无点亦无声

I only feel my clothes grow wet—no drops, and no sound.

但觉衣裳湿，无点亦无声。

I merely notice that my clothes are damp; there are neither splashes nor any sound of rain.

此二句是全诗写微雨的核心，以但觉衣裳湿写衣湿，以无点亦无声写微雨，写尽夜行的微雨，是千古名句。「但觉衣裳湿」写但觉衣裳湿——那「但觉」写但觉，「衣裳湿」写衣裳湿，写尽衣湿的触觉；「无点亦无声」写无点亦无声——那「无点」写无点，「亦无声」写亦无声，写尽微雨的无痕。这句的深意在于：它以「但觉衣裳湿」的衣湿与「无点亦无声」的微雨，写尽夜行的微雨——但觉衣裳湿，那「但觉衣裳湿」写尽衣湿的触觉——只觉衣裳渐湿，正是微雨沾衣的写照，那「衣裳湿」写尽微雨的可感；无点亦无声，那「无点亦无声」写尽微雨的无痕——无雨点，亦无雨声，正是微雨无声的写照，那「无声」写尽微雨的微妙；那「但觉衣裳湿」写尽衣湿的触觉，那「无点亦无声」写尽微雨的无痕，一写触觉，一写视听，写尽夜行的微雨——衣湿而不见点、不闻声，正是微雨的细腻；此二句以衣湿、微雨写尽夜行的微雨，也让此二句成为全诗写微雨的核心与千古名句。若换作直说「下小雨了」，则失其细腻；唯以「但觉衣裳湿」写衣湿、「无点亦无声」写微雨，写尽夜行的微雨，也让此二句成为全诗写微雨的核心。

The two lines are the core of the poem's light rain, writing the damp clothes through 'I only feel my clothes grow wet' and the drizzle through 'no drops, and no sound,' a timeless couplet. 'I only feel my clothes grow wet' writes the touch of dampness—only feeling the clothes gradually wet, the picture of drizzle clinging. 'No drops, and no sound' writes the tracelessness of the rain—no drops, no sound, the picture of the soundless drizzle. The depth lies in pairing the damp clothes with the traceless rain to write the night drizzle: the 'feel' is touch, the 'no drops, no sound' sight and hearing—clothes wet yet no drops seen, no sound heard, precisely the delicacy of fine rain. Had the poet said plainly 'it is drizzling,' the delicacy would be lost; only through the felt dampness and the absent drops and sound does the night drizzle appear, making these lines the core of the poem.

漠漠秋云起，稍稍夜寒生

Vast and dim, the autumn clouds rise; by degrees the night cold is born.

漠漠秋云起，稍稍夜寒生。

Boundless autumn clouds gather overhead, and little by little the chill of night comes on.

此二句是全诗写夜景的核心，以漠漠秋云起写秋云，以稍稍夜寒生写夜寒，写尽夜行的秋云，是千古名句。「漠漠秋云起」写漠漠秋云起——那「漠漠秋云」写漠漠秋云，「起」写起，写尽秋云的迷漫；「稍稍夜寒生」写稍稍夜寒生——那「稍稍夜寒」写稍稍夜寒，「生」写生，写尽夜寒的渐生。这句的深意在于：它以「漠漠秋云起」的秋云与「稍稍夜寒生」的夜寒，写尽夜行的秋云——漠漠秋云起，那「漠漠秋云起」写尽秋云的迷漫——漠漠秋云，渐起天边，正是秋夜的写照，那「漠漠」写尽秋云的迷茫；稍稍夜寒生，那「稍稍夜寒生」写尽夜寒的渐生——稍稍夜寒，渐生肌肤，正是夜行的写照，那「稍稍」写尽夜寒的渐起；那「漠漠秋云起」写尽秋云的迷漫，那「稍稍夜寒生」写尽夜寒的渐生，一写云，一写寒，写尽夜行的秋云——秋云漠漠而夜寒渐生，正是夜行的前奏；此二句以秋云、夜寒写尽夜行的秋云，也为后二句的微雨作铺垫，也让此二句成为全诗写夜景的核心与千古名句。若换作直说「天阴了变冷了」，则失其细腻；唯以「漠漠秋云起」写秋云、「稍稍夜寒生」写夜寒，写尽夜行的秋云，也让此二句成为全诗写夜景的核心。

The two lines are the core of the poem's night scene, writing autumn clouds through 'vast and dim, the autumn clouds rise' and night cold through 'by degrees the night cold is born,' a timeless couplet. 'Vast and dim' writes the spread of the clouds, 'rise' their gathering on the horizon. 'By degrees' writes the gradual coming of the cold, 'is born' its growth on the skin. The depth lies in pairing the autumn clouds with the growing cold to write the night journey: the 'vast and dim' writes the blur of the clouds, the 'by degrees' the onset of the chill—boundless autumn clouds and gradually growing night cold, precisely the prelude to the night walk. Had the poet said plainly 'it clouded over and turned cold,' the delicacy would be lost; only through the spreading clouds and the gradual cold does the autumn night appear, preparing the later drizzle and making these lines the core of the poem.

Study

Word focus

漠漠 'The, vast' — the vastness of the clouds, the autumn of the opening. 「漠漠秋云起」之「漠漠」是写秋云的关键词，一个「漠漠」写尽秋云的迷漫。漠漠者，弥漫、迷茫也。白居易以「漠漠秋云起」写秋云，这个「漠漠」至少有双重意味：其一，写云之漫——那「漠漠秋云起」写漠漠秋云起，那「漠漠」写尽秋云的迷漫——漠漠秋云，正是云气弥漫的写照，那「漠漠」写尽秋云的迷茫；其二，写夜之暗——那「漠漠」更是写暗——漠漠，正见夜色之昏暗，那「漠漠」写尽夜行的昏暗。以「漠漠」写秋云，正是白居易写夜行的枢纽——若换作「层层」「密密」等词，则或失其与「秋云」「起」的配合，或失其写漠漠的意味；唯「漠漠」二字，以漠漠秋云起写尽秋云的迷漫与夜色的昏暗，与「稍稍夜寒生」的稍稍相合，写尽夜行的秋云，也让「漠漠秋云起」成为全诗写夜景的名句。

稍稍 'The, slight' — the slightness of the cold, the growing of the night. 「稍稍夜寒生」之「稍稍」是写夜寒的关键词，一个「稍稍」写尽夜寒的渐生。稍稍者，渐渐、略微也。白居易以「稍稍夜寒生」写夜寒，这个「稍稍」至少有双重意味：其一，写寒之渐——那「稍稍夜寒生」写稍稍夜寒生，那「稍稍」写尽夜寒的渐生——稍稍夜寒，正是寒意渐起的写照，那「稍稍」写尽夜寒的渐起；其二，写感之微——那「稍稍」更是写微——稍稍，正见感受之细微，那「稍稍」写尽夜行的细腻。以「稍稍」写夜寒，正是白居易写夜行的枢纽——若换作「渐渐」「渐次」等词，则或失其与「夜寒」「生」的配合，或失其写稍稍的意味；唯「稍稍」二字，以稍稍夜寒生写尽夜寒的渐生与感受的细微，与「漠漠秋云起」的漠漠相合，写尽夜行的秋云，也让「稍稍夜寒生」成为全诗写夜寒的名句。