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这首诗写诗人在登高望远中表现出来的不凡的胸襟抱负，反映了盛唐时期人们积极向上的进取精神。
诗的前两句写所见。“白日依山尽”写远景，写山，写的是登楼望见的景色，“黄河入海流”写近景，写水写得景象壮观，气势磅礴。这里，诗人运用极其朴素、极其浅显的语言，既高度形象又高度概括地把进入广大视野的万里河山，收入短短十个字中；而后人在千载之下读到这十个字时，也如临其地，如见其景，感到胸襟为之一开。
首句写遥望一轮落日向着楼前一望无际、连绵起伏的群山西沉，在视野的尽头冉冉而没。这是天空景、远方景、西望景。次句写目送流经楼前下方的黄河奔腾咆哮、滚滚南来，又在远处折而东向，流归大海。这是由地面望到天边，由近望到远，由西望到东。这两句诗合起来，就把上下、远近、东西的景物，全都容纳进诗笔之下，使画面显得特别宽广，特别辽远。
就次句诗而言，诗人身在鹳雀楼上，不可能望见黄河入海，句中写的是诗人目送黄河远去天边而产生的意中景，是把当前景与意中景溶合为一的写法。这样写，更增加了画面的广度和深度。而称太阳为“白日”，这是写实的笔调。落日衔山，云遮雾障，那本已减弱的太阳的光辉，此时显得更加暗淡，所以诗人直接观察到“白日”的奇景。至于“黄河”。当然也是写实。它宛若一条金色的飘带，飞舞于层峦叠嶂之间。
后两句写所想。“欲穷千里目”，写诗人一种无止境探求的愿望，还想看得更远，看到目力所能达到的地方，唯一的办法就是要站得更高些，“更上一层楼”。从这后半首诗，可推知前半首写的可能是在第二层楼（非最高层）所见，而诗人还想进一步穷目力所及看尽远方景物，更登上了楼的顶层。在收尾处用一“楼”字，也起了点题作用，说明这是一首登楼诗。
诗句看来只是平铺直叙地写出了这一登楼的过程，但其含意深远，耐人探索。“千里”“一层”，都是虚数，是诗人想象中纵横两方面的空间。“欲穷”“更上”词语中包含了多少希望，多少憧憬。这两句诗发表议论，既别翻新意，出人意表，又与前两句写景诗承接得十分自然、十分紧密，从而把诗篇推引入更高的境界，向读者展示了更大的视野。也正因为如此，这两句包含朴素哲理的议论，成为了千古传诵的名句，也使得这首诗成为一首千古绝唱。
这应当只是说，诗歌不要生硬地、枯燥地、抽象地说理，而不是在诗歌中不能揭示和宣扬哲理。像这首诗，把道理与景物、情事溶化得天衣无缝，使读者并不觉得它在说理，而理自在其中。这是根据诗歌特点、运用形象思维来显示生活哲理的典范。 这首诗在写法上还有一个特点：它是一首全篇用对仗的绝句。前两句“白日”和“黄河”两个名词相对，“白”与“黄”两个色彩相对，“依”与“入”两个动词相对。后两句也如此，构成了形式上的完美。
沈德潜在《唐诗别裁集》中选录这首诗时曾指出：“四语皆对，读来不嫌其排，骨高故也。”绝句总共只有两联，而两联都用对仗，如果不是气势充沛，一意贯连，很容易雕琢呆板或支离破碎。这首诗，前一联用的是正名对，所谓“正正相对”，语句极为工整，又厚重有力，就更显示出所写景象的雄大；后一联用的是，虽然两句相对，但是没有对仗的痕迹。所以说诗人运用对仗的技巧也是十分成熟的。▲
appreciation
This poem describes the extraordinary ambition of the poet in his lofty vision, which reflects the positive and enterprising spirit of people in the prosperous Tang Dynasty.
The first two sentences of the poem are what you see. “The mountain in the daytime” describes the prospect, the mountain, the scenery seen from the tower, the close-up view of “the Yellow River flowing into the sea”, and the magnificent water. Here, the poet uses extremely simple and simple language, which is both highly visual and highly generalized, to include the thousands of miles of rivers and mountains into a short ten words; And when later generations read these ten words under thousands of years, they also felt as if they were in the same place.
The first sentence is to look at the sunset and see the endless rolling mountains in front of the building sink to the west, and disappear slowly at the end of the vision. This is the sky view, the distant view and the west view. The second sentence is to watch the Yellow River rushing and roaring down the front of the building, rolling southward, turning eastward in the distance, and flowing back to the sea. This is from the ground to the horizon, from near to far, from west to east. When these two lines are combined, they contain all the sceneries of the upper, lower, far and near, and the east and the west, making the picture very broad and distant.
As far as the next poem is concerned, it is impossible for the poet to see the Yellow River flowing into the sea when he is in the stork tower. The poem describes the scene in the mood created by the poet when he watches the Yellow River go far away to the horizon. It is a combination of the foreground and the scene in the mood. In this way, it increases the breadth and depth of the picture. The sun is called “day”, which is a realistic style. The setting sun held the mountain, and the clouds covered the fog. At this time, the light of the weakened sun seemed more dim, so the poet directly observed the wonder of “day”. As for the “Yellow River”. Of course, it is also realistic. It is like a golden ribbon, flying among the mountains.
Write what you think in the last two sentences. “Wanting to be poor for thousands of miles” is a poet’s endless desire to explore. He also wants to see farther and see where his eyesight can reach. The only way is to stand higher and “go higher”. From this second half of the poem, it can be inferred that the first half of the poem may be written in the second floor (not the highest floor), and the poet also wanted to see the distant scenery as far as he could, and climbed to the top floor of the building. The word “Lou” at the end also serves as a point, indicating that this is a poem about climbing a tower.
It seems that the poem just describes the process of climbing the tower in a straightforward way, but its meaning is far-reaching and endures exploration. The “thousand miles” and “one floor” are imaginary numbers, which are the spaces in the poet’s imagination. The words “want to be poor” and “go up” contain many hopes and hopes. These two poems are not only novel and unexpected, but also very natural and close to the first two scenic poems, thus pushing the poem into a higher realm and showing readers a wider vision. It is precisely because of this, these two sentences contain simple philosophic arguments, which have become famous sentences handed down through the ages, and also make this poem a masterpiece through the ages.
It should only be said that poetry should not be stiff, dull and abstract in reasoning, not in poetry can not reveal and promote philosophy. Like this poem, the truth, scenery and feelings are seamlessly integrated, so that the reader does not feel that it is reasoning, but it is reasonable. This is a model of using image thinking to show the philosophy of life according to the characteristics of poetry. This poem has another characteristic in writing: it is a quatrain with antithesis throughout the poem. In the first two sentences, the nouns “Bairi” and “Yellow River” are opposite, the two colors “Bai” and “Huang” are opposite, and the verbs “Yi” and “Jin” are opposite. The last two sentences are also like this, forming a formal perfection.
Shen Deqian pointed out when he selected this poem in the Collection of Genres of Tang Poetry: “All the four languages are right, and you can read it without disdaining its row. It is high in bone, so it is.” There are only two couplets of quatrains in total, and both couplets are antithetical. If they are not full of momentum and coherent, it is easy to be dull or fragmented. In this poem, the former couplet uses the correct name, the so-called “positive and positive opposites”. The sentence is very neat, thick and powerful, which shows the magnificence of the scene; In the latter couplet, although the two sentences are opposite, there is no trace of antithesis. Therefore, the poet is also very mature in the use of antithesis. ▲
