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唐 Tang · 诗 Poem

行军九日思长安故园

On, the, Ninth, of, the, Ninth, Month, of, the, March, Thinking, of, the, Old, Garden, of, the, Chang'an

岑参

Cen Shen

思乡Homesickness 重阳Theme 边塞Frontier

强欲登高去，无人送酒来。
遥怜故园菊，应傍战场开。

Forcibly, wishing, to, climb, the, height, and, go,
No, one, sending, the, wine, to, come.
From, afar, pitying, the, chrysanthemums, of, the, old, garden,
Should, be, by, the, side, of, the, battlefield, blooming.

Listen

Meaning

A poem of the frontier and the longing, written by Cen Shen. Forcibly wishing to climb the height and go, no one sending the wine to come — the ninth of the middle. From afar pitying the chrysanthemums of the old garden, should be by the side of the battlefield blooming — the garden of the close. The poem is the frontier and the longing: the height, the wine, and the close's chrysanthemums.

勉强想要登高去，却无人送酒来。遥想故园的菊花，应该正傍着战场开放。

Appreciation

[Plain Paraphrase] Forcibly, wishing, to, climb, the, height, and, go, no, one, sending, the, wine, to, come. From, afar, pitying, the, chrysanthemums, of, the, old, garden, should, be, by, the, side, of, the, battlefield, blooming. [Structure and Thought] The poem moves from the ninth of the climb with the no one sending the wine, through the pitying of the chrysanthemums, to the close's the blooming of the battlefield. [Key Technique] The poem's art is the close of the blooming: from afar pitying the chrysanthemums of the old garden, and the close's should be by the side of the battlefield blooming — the longing gathered in the pity and the close's blooming. [Emotional Tone] Longing, sorrowful, and touching: the poem is the height, the wine and the close's chrysanthemums.

【白话串讲】岑参写《行军九日思长安故园》：“强欲登高去，无人送酒来”——“遥怜故园菊，应傍战场开”——重阳节他在军中，想登高却无人送酒——他怜惜故园的菊花，应该开在战场边上了——他写战乱中的思乡。【意象与手法】此诗写行军途中逢重阳而思长安故园，是岑参的名篇。前两句「强欲登高去，无人送酒来」写重阳无酒——「强欲登高去」写勉强想要登高，「无人送酒来」写无人送酒（用陶渊明典）；后两句「遥怜故园菊，应傍战场开」写遥想故园——「遥怜故园菊」写遥想长安故园的菊花，「应傍战场开」写菊花应正傍着战场开放。全诗以重阳思乡，以菊花写战乱，写尽安史之乱中的乡愁，正是岑参「语奇体峻」诗风的代表。【情感与主旨】此诗作于唐肃宗至德二载（757）九月，时岑参随军出征，途中逢重阳节而作。当时安史之乱未平，长安仍陷于叛军之手。岑参（约715—770），江陵（今湖北荆州）人，盛唐著名边塞诗人。此诗写行军途中逢重阳：勉强想要登高（重阳登高之俗），却无人送酒（用陶渊明「白衣送酒」之典），军中寂寞，无酒可饮；遥想长安故园的菊花，如今长安沦陷，那菊花应该正傍着战场开放。诗人以「强欲登高」写逢节的勉强，「无人送酒」写军中的寂寞与故园的远离，「遥怜故园菊」写对故园的思念，「应傍战场开」写战乱中的菊花，也暗写战乱中的故园——菊花尚在，故园已陷，那「应」字写尽思念中的想象与沉痛。全诗以重阳思乡，以菊花写战乱，正是岑参诗「语奇体峻，意亦造奇」的本领。【名句点睛】常考「强欲登高去，无人送酒来」用陶渊明「白衣送酒」之典；「遥怜故园菊，应傍战场开」以菊花写战乱与思乡；「应」字的想象之辞；以及全诗以重阳思乡、以菊花写战乱的手法；与「遥怜故园菊」所寄寓的故国之思。

Background

Cen Shen (c. 715-770), the poet of the Tang, wrote this 'On, the, Ninth, of, the, Ninth, Month, of, the, March' of the frontier and the longing — the memory of the old garden on the Double Ninth. The climb with the no one sending the wine, and the close's the blooming of the chrysanthemums by the battlefield — the poem gathers the longing of the poet, the sorrow of the frontier. The poem is one of the famous works of the poet's poems of the frontier.

此诗作于唐肃宗至德二载（757）九月重阳节，时岑参随军出征，途中逢重阳而作。当时安史之乱未平，长安（唐都）仍陷于叛军（安禄山、史思明）之手。岑参（约715—770），江陵（今湖北荆州）人，盛唐著名边塞诗人，与高适并称「高岑」。岑参两度出塞，对边塞军旅生活有深切的体验，其诗「语奇体峻，意亦造奇」。此诗写行军途中逢重阳：重阳本有登高、赏菊、饮酒之俗，诗人「强欲登高去」——勉强想要登高，却「无人送酒来」——无人送酒（用东晋陶渊明重阳节得白衣人送酒的典故，写重阳无酒、无人相陪的寂寞）；「遥怜故园菊，应傍战场开」——遥想长安故园的菊花，如今长安沦陷于战火，那菊花应该正傍着战场开放。全诗以重阳思乡，以菊花写战乱——那「强欲登高」写逢节的勉强与兴致全无，那「无人送酒」写军中的寂寞与故园的遥远，那「遥怜故园菊」写对故园深切的思念，那「应傍战场开」写想象中战火中的菊花，也暗写沦陷的故园；菊花是重阳的象征，也是故园的象征，如今却傍着战场开放，写尽战乱中思乡的沉痛与对国事的忧虑。此诗虽仅二十字，却是理解岑参、理解安史之乱中士人乡愁的重要篇章。

Art

The poem's art is the art of the blooming. The ninth opens: forcibly, wishing, to, climb, the, height, and, go — the height of the climb; no, one, sending, the, wine, to, come — the wine of the no one sending. The longing follows: from, afar, pitying, the, chrysanthemums, of, the, old, garden — the chrysanthemums of the old garden; should, be, by, the, side, of, the, battlefield, blooming — the blooming of the battlefield — the height, the pity and the close's longing, gathered in the poem.

此诗的艺术特色可从四个方面解析。其一，以对比写寂寞。首联「强欲登高去，无人送酒来」写重阳登高而无酒——那「强欲」写勉强想登高，兴致全无，「无人送酒」写无人送酒，以重阳习俗（登高饮酒）与军中现实（无酒无人）的对比，写尽军中的寂寞与故园的遥远。其二，以用典写情致。「无人送酒来」用陶渊明重阳节白衣人送酒的典故——重阳本应有酒，然军中无人送酒，以典写无酒的寂寞，也暗写故园之远、知交之稀。其三，以遥想写思念。「遥怜故园菊」写遥想故园的菊花——那「遥」写长安之远，「怜」写怜爱思念，「故园菊」写故园的菊花，以菊花代故园，写尽深切的思念。其四，以想象写沉痛。「应傍战场开」写菊花应正傍着战场开放——那「应」是想象之辞，写诗人想象故园的菊花正开在战场边，以菊花的开放与战场的残酷相对照，写尽战乱中思乡的沉痛。四重手法，使此诗以重阳思乡，以菊花写战乱，正是岑参「语奇体峻」诗风的本领。

Allusions

'The ninth of the ninth month' (jiu ri) is the ninth of the ninth month — the Double Ninth, the climb of the opening; 'the sending the wine' (song jiu) is the sending the wine — the wine of the Tao Yuanming, the no one sending of the opening; 'the old garden' (gu yuan) is the old garden — the garden of the old, the pitying of the close.

此诗的用语深植于重阳与思乡的传统。「登高」令人想到重阳登高的习俗，也令人想到「遥知兄弟登高处，遍插茱萸少一人」（王维《九月九日忆山东兄弟》）的重阳思乡传统，更令人想到「登山临水」的悲秋；「无人送酒来」用陶渊明重阳白衣送酒的典故——东晋陶渊明重阳节于宅边菊丛中独坐，江州刺史王弘派白衣人送酒来，陶渊明便就地畅饮；此诗以「无人送酒来」写军中无酒，正以陶渊明的重阳有酒反衬自己的无酒，以典写寂寞，也暗写「不为五斗米折腰」的陶渊明式孤高；「故园菊」令人想到「采菊东篱下，悠然见南山」（陶渊明《饮酒》）的菊花意象——菊花既是重阳的象征，也是故园、隐逸的象征，更令人想到「不是花中偏爱菊，此花开尽更无花」（元稹《菊花》）的菊意象；「应傍战场开」令人想到「战场」的边塞战争意象，也令人想到「野火烧不尽」的战乱意象，更令人想到「国破山河在，城春草木深」（杜甫《春望》）的故国沦陷之思。全诗化用重阳、白衣送酒、菊花、战场的传统意象，以重阳思乡，以菊花写战乱，正是岑参化用典故与意象的本领。

Commentary

This poem is one of the famous works of Cen Shen's poems of the frontier, quoted for the loneliness of its opening and the sorrow of its close. The no one sending the wine, and the blooming of the battlefield, are among the admired passages of the poet's poems. Critics praise the poem's longing: the garden gathered in the pity, to the close's blooming.

此诗历来被推为岑参的名篇，也是唐人重阳思乡诗的代表。历代论者对此诗评价极高：清人评此诗「以重阳思乡，语简而意深」；近人更指出「应傍战场开」的想象之辞，写尽战乱中的乡愁，是此诗的点睛之笔。在诗歌史上，此诗的特殊价值在于：它以二十字写尽战乱中的乡愁——那勉强登高的勉强，那无人送酒的寂寞，那遥怜故园的思念，那应傍战场开放的菊花，都写尽了这位边塞诗人在安史之乱中思乡的沉痛；那「应傍战场开」更写尽战乱中故园的残破与对国事的忧虑。此诗与王维《九月九日忆山东兄弟》（「每逢佳节倍思亲」）同为重阳思乡名篇，一写忆兄弟，一写思故园；又与杜甫《春望》（「国破山河在」）同为写安史之乱的名篇，可见乱世中的乡愁与国忧。对于今日读者，此诗是理解岑参与安史之乱士人心态的窗口，也是中国诗写重阳思乡的经典——那傍着战场开放的菊花，穿越千年，仍在诉说着战乱中思乡的沉痛。

Prosody

Form A quatrain of the frontier (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 sorrowful longing.押平声灰韵（来、开），两句一韵，平韵悠长，正合思念的悠长

Tone pattern The cadence is that of the longing: the level opening with the ninth, the turning with the pitying, and the close's fall with the blooming.此诗为五言绝句，四句两联，前写无酒，后写遥想。全诗仄起平收，节奏从容，于平易中见深婉。

Reading note The poem's sound matches its sorrow: the cadences of the quatrain, and the close — 'ying bang zhan chang kai' — falls with the blooming, the sound of the longing of the frontier poet.此诗为五言绝句，四句：前两句写今（强欲登高去，无人送酒来），后两句写想（遥怜故园菊，应傍战场开）。押平声灰韵，韵脚「来、开」皆平声，悠长舒缓，正合思念的悠长。全诗以重阳思乡——首句「强欲登高去」写勉强登高，次句「无人送酒来」用典写无酒，三句「遥怜故园菊」写遥想故园，结句「应傍战场开」以想象写战乱，起承转合，一气呵成。此诗最见岑参五绝的「语奇意深」：二十字写尽战乱中的乡愁，前二句写今、后二句写想，今与想对照，以想象之辞写沉痛。诵读此诗，宜以平静的语调读「强欲登高去」的勉强，以低回的语调读「遥怜故园菊」的思念，结句「应傍战场开」要读得沉痛而有余韵，方能传达出岑参的乡愁与国忧。岑参诗以「语奇体峻」著称，此诗正是其思乡五绝的典范。

Line by line

强欲登高去，无人送酒来

I force myself to climb the height; no one comes with wine.

勉强想要登高去，却无人送酒来。

With effort I want to climb the heights; but no one sends wine to me.

此联写重阳无酒的寂寞，以勉强写兴致全无，以用典写无人相陪。「强欲登高去」写勉强想要登高去——那「强欲」写勉强想要，「登高」写重阳登高的习俗，写逢重阳本该登高，却只是勉强；「无人送酒来」写无人送酒来——那「无人送酒」用陶渊明重阳白衣送酒的典故，「来」写无人送来，写军中无酒、无人相陪。这句的深意在于：它以「强欲登高」与「无人送酒」的对照，写尽重阳逢节的寂寞——重阳本有登高、饮酒、赏菊之乐，然诗人行军在外，勉强想登高，却无人送酒，兴致全无；那「强欲」写尽逢节的勉强与无心，那「无人送酒」用陶渊明白衣送酒的典故，写军中无酒、故园遥远、知交稀寥；陶渊明重阳有白衣送酒，诗人重阳却无人送酒，以典反衬，写尽军中的寂寞与思乡的深重。若换作直说「重阳节我很寂寞」，则失其含蓄；唯以「强欲登高」写勉强、「无人送酒」用典写无酒，写尽重阳逢节的寂寞，也让此联成为全诗寂寞的开篇。

This couplet writes the loneliness of the Double Ninth without wine, 'forcing' the climb and using the allusion of no wine sent. 'Force myself' writes the holiday spirit absent—climbing is the Double Ninth custom, yet he drags himself to it. 'No one comes with wine' alludes to Tao Yuanming, who on the Double Ninth was brought wine by a white-robed messenger; the poet, on campaign, has neither. The allusion sets Tao's abundance against the soldier's isolation. If stated as 'I am lonely on the festival,' the reserve would vanish; only through the forced climb and the absent wine does the military-camp loneliness show.

遥怜故园菊，应傍战场开

Far off, I pity the chrysanthemums of home; they must be blooming beside the battlefield.

遥想故园的菊花，应该正傍着战场开放。

From afar I grieve for the chrysanthemums of my home; they should be flowering beside the battlefield.

此联是全诗的点睛之笔，以遥想写思念，以菊花写战乱，是千古名句。「遥怜故园菊」写遥想故园的菊花——那「遥」写长安之远，「怜」写怜爱思念，「故园菊」写故园的菊花，以菊花代故园，写尽深切的思念；「应傍战场开」写应该正傍着战场开放——那「应」是想象之辞，「傍战场开」写傍着战场开放，写想象中故园菊花正开在战场边。这句的深意在于：它以「遥怜故园菊」的思念与「应傍战场开」的想象，写尽战乱中的乡愁——诗人行军途中，遥想长安故园的菊花，如今长安沦陷于战火，那菊花应该正傍着战场开放；那「遥怜」写尽对故园深切的思念，那「应傍战场开」写尽想象中战火中的菊花——菊花本是重阳赏玩、象征故园与和平之物，如今却傍着战场开放，那「战场」写尽故园的沦陷，那「应」字写尽思念中的想象与沉痛；诗人不说故园如何残破，只以「应傍战场开」的想象写战乱中的菊花，写尽战乱中思乡的沉痛与对国事的忧虑。若换作直说「我很想念战乱中的故园」，则失其含蓄；唯以「遥怜故园菊」写思念、「应傍战场开」的想象写战乱，以菊花写故园与战乱，也让此联成为全诗的点睛之笔与千古名句。

This couplet is the poem's crowning stroke, the chrysanthemums of home imagined blooming by the battlefield. 'Far off I pity' writes the distance and tenderness; 'home chrysanthemums' stands for the capital and peace. 'Must be blooming beside the battlefield' is the imaginative blow—Chang'an is fallen, so the home chrysanthemums must now open amid war. The chrysanthemum, symbol of home and the festival, planted by a battlefield, carries the grief for a lost capital without saying it. If stated as 'I miss my war-torn home,' the reserve would vanish; only through the imagined chrysanthemums by the field of battle does the homesickness become a famous line.

Study

Word focus

强 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「强欲登高去」之「强」字是写逢节心境的关键字，一个「强」字写尽重阳无兴的勉强。强者，勉强、强自也。岑参以「强欲」写登高，这个「强」字至少有双重意味：其一，写兴致之无——那「强欲登高」写勉强想要登高，那「强」字写尽逢重阳而兴致全无，登高只是勉强；其二，写心绪之乱——那「强」字更是写心绪——诗人行军在外，故园沦陷，虽有登高之俗，却无心为之，那「强」字写尽佳节思亲、无心行乐的心绪。以「强」字写逢节心境，正是岑参开篇立意的枢纽——若换作「欲」「思」等字，则或失其勉强之意，或失其与「无人送酒」的对照；唯「强」字，以一字写尽勉强登高的无心与佳节思乡的深重，与「无人送酒」的寂寞相合，写尽重阳逢节的愁绪，也让「强欲登高去」成为全诗寂寞的开篇。

应 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「应傍战场开」之「应」字是写想象的关键字，一个「应」字写尽思念中的想象与沉痛。应者，应该、想必也。岑参以「应」写故园菊，这个「应」字至少有双重意味：其一，写想象之辞——那「应傍战场开」写菊花应该正傍着战场开放，那「应」字写诗人遥想故园菊花的想象——诗人身在行军途中，看不见故园，只能以「应」字想象，写尽思念中的想象；其二，写沉痛之深——那「应」字更是写沉痛——故园沦陷，菊花应傍战场开放，那「应」字以想象之辞写战乱中的故园，写尽思念中的忧虑与沉痛。以「应」字写想象，正是岑参收束全诗的枢纽——若换作「正」「已」等字，则或失其想象之辞的深婉，或失其与「遥怜」的呼应；唯「应」字，以一字写尽遥想故园菊花的想象与战乱中的沉痛，与「遥怜」相合，以菊花写战乱与思念，也让「应傍战场开」成为全诗的点睛之笔。