十五夜望月寄杜郎中
中庭地白树栖鸦，
冷露无声湿桂花。
今夜月明人尽望，
不知秋思落谁家。
The courtyard gleams with moonlight white, crows roost in trees at rest;
Cold dewdrops fall without a sound, wetting the cassia's crest.
Tonight the moon is bright and clear, all gaze upon its face;
Whose home, I wonder, will receive this autumn longing's grace?
逐句注释
中庭地白树栖鸦，
中庭：庭院当中。地白：月光照地，一片银白，如同铺霜积雪。诗人通篇不写一个「月」字，却用「地白」从侧面写出月色之明澈，这是古典诗歌中极典型的「以景写月、避实就虚」手法。树栖鸦：乌鸦栖息树上。鸦本是聒噪之鸟，此处却静而不啼，以动衬静、以声写寂，暗示夜深人静、万籁俱寂，也点出诗人独自凝望之久。
Zhongting: the central courtyard. 'The ground turns white' — the moonlight, never once named in the poem, is revealed obliquely by the silvered pavement, a classic Tang technique of 'writing the moon by writing everything but the moon.' 'Crows roost in trees': the crow is a noisy bird, yet here it is silent — stillness conveyed through would-be sound, showing how late the hour is and how long the poet has stood gazing.
冷露无声湿桂花。
冷露：秋夜的寒露。无声：以听觉的「无」写静，与上句鸦之不鸣相呼应。湿桂花：露水悄然沾湿桂花。桂花既实写庭院之景，又暗合月宫中「桂树」的神话意象，将人间庭院与天上明月悄然勾连，为下文「望月」伏笔。「冷」「无声」「湿」三字连用，从触觉、听觉、视觉写出秋夜的清寒凄清。
Cold dew: the chill of an autumn night. 'Without a sound' — silence built from absence of sound, echoing the voiceless crows above. Wet cassia: dew soaks the osmanthus. The osmanthus is both a real garden plant and an allusion to the cassia tree in the moon palace, quietly fusing the earthly courtyard with the celestial moon and preparing for the gazing to come. The three words 'cold,' 'soundless,' 'wet' layer touch, hearing, and sight into one great chill.
今夜月明人尽望，
月明：月色皎洁。人尽望：人人都在仰望明月。笔锋由前两句的「一人独看」陡转为「天下共望」，境界顿时开阔，以众人之望衬出诗人自己望月之久、思之深。「尽」字极有分量，写尽中秋之夜普天之下的共同情思。
Moon bright: the moon at its clearest. 'All men gaze' — the camera suddenly pulls back from the poet's solitary courtyard to all the world under the moon. The vastness sharpens the contrast: everyone gazes, yet the poet has gazed longest. The word 'all' carries great weight, capturing the longing shared by the whole empire on Mid-Autumn night.
不知秋思落谁家。
秋思：因秋景而生的思念之情，此指怀人、思乡之愁。落谁家：落在谁人的家中。以疑问句收束，不直说自己在思念，反而问「这份秋愁落到了谁家」，含蓄委婉，情韵悠长。更妙在一个「落」字：把无形的秋思化作有形可坠之物，仿佛随着月光、随着露水一同洒落人间，与首句「地白」的月光遥相呼应，虚实相生，余味无穷。又题作「不知秋思在谁家」。
'Autumn longing': the yearning that autumn stirs — here the ache of missing someone far away. The poem closes on a question: instead of declaring his own sorrow, the poet asks on whose house this autumn grief has fallen, which is far more reticent and lingering. The verb 'fall' is the stroke of genius: it turns formless longing into something that can drop from the sky, drifting down with the moonlight and the dew, echoing the whitened courtyard of line one. A traditional variant reads 'dwells in whose house' instead of 'falls on whose house.'
今日赏析
此诗又题作《十五夜望月》，是王建在中秋之夜所作，寄赠友人杜郎中（一说即杜元颖）。王建一生仕途不显，长期沉沦下僚，漂泊他乡，中秋本是团圆之节，诗人却独处异乡庭院，望月怀人。诗题点明「寄杜郎中」，可知所怀者正是这位友人。全诗二十八字，前两句写景，纯用白描，月光、栖鸦、冷露、桂花构成一幅清冷静谧的中秋夜景图；后两句抒情，由个人之望月推及天下人之望月，最后以一句设问收束，把一己的秋思化为普天之下难以言说的共同惆怅。其妙处在于通篇不着一个「月」字，却处处是月；不着一句「思」字，却句句含思。
Also titled 'Gazing at the Moon on the Fifteenth Night,' this quatrain was written by Wang Jian on Mid-Autumn night and sent to his friend Du the Gentleman of the Bureau (Du Langzhong, possibly Du Yuanying). Wang Jian never rose high in office, spending much of his life in minor posts far from home. Mid-Autumn is a festival of reunion, yet the poet found himself alone in a strange courtyard, gazing at the moon and thinking of an absent friend — the title's dedication tells us exactly who. In twenty-eight characters the first two lines paint an objective, unadorned nightscape of moonlight, roosting crows, cold dew, and osmanthus; the last two lift from private watching to the whole world watching, closing on a single question that turns one man's autumn sorrow into a universal, inexpressible melancholy. Its genius lies in never once writing the word 'moon,' though the moon is everywhere, and never once writing the word 'longing,' though every line is soaked in it.
每日唐诗精选唐代经典作品，提供原文、英文翻译、逐句注释与赏析，适合古诗词学习、双语阅读和日常诗意积累。