49. 蝶恋花（晏几道）
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现代汉语译文
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梦入江南烟水路，行尽江南，不与离人遇。睡里消魂无说处，觉来惆怅消魂误。
现代汉语译文
梦里走上烟水迷蒙的江南路，把江南走了个遍，也没有遇见那个离别的人。睡着时，这份像丢了魂一样的悲伤无处诉说；醒来后满心惆怅，反倒觉得是这场消魂的梦把人耽误了。
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欲尽此情书尺素，浮雁沉鱼，终了无凭据。却倚缓弦歌别绪，断肠移破秦筝柱。
现代汉语译文
想把这份情意都写进信里，可雁浮鱼沉，纵然写成，也没有可靠的音信可凭。转而倚着松缓的筝弦，唱出离别的心绪；心中断肠，移遍秦筝弦柱。
赏析与注 · Commentary and notes
江南再入，仍未相逢 · Jiangnan entered twice, still no meeting
开头三句两次写到「江南」：先是梦中进入烟水迷蒙的路，再是「行尽江南」。同一地名再次出现，梦里的行程从进入延伸到走遍，却仍没有遇见离人；「行尽」与「不与」之间的落差，托住了这三句。再看「烟水路」：烟与水铺成的路没有踏实的落脚处，走得再远，也未必能抵达所寻之人。三句没有直写「愁」，未遇的结果让愁意显出来。
The opening lines name Jiangnan twice: first as a misted waterway entered in a dream, then as a region walked through. The repeated place name widens the dream journey, yet the speaker still does not meet the absent companion. The contrast between xing jin (walked through) and bu yu (did not meet) carries the passage. Yan shui lu, a road made of mist and water, offers no firm footing; however far one walks, one may still not reach the person sought. The lines never name sorrow directly; the failed meeting gives it shape.
消魂用到第二遍 · Where xiao hun comes back
「睡里消魂无说处」已经把话说满：这份像丢了魂的悲伤，在梦里就找不到可以说的去处。下句不另换词，把「消魂」两个字照原样再放一次，前面添「觉来」，后面跟上「惆怅」和「误」。同一个词出现两次，第一次的痛发生在睡着时；第二次已被醒着的自己看在眼里，于是多了「误」字——这一场梦，让人白白痛了一遍。上片到「觉来」完成翻转。下片接着把这份难以排遣的心绪转向更具体的寄托：醒来想到写信，信仍无着，才转到弦上。
The line shui li xiao hun wu shuo chu is already full: this grief, like a soul coming loose, finds in the dream itself no one and nowhere to be told. The next line does not reach for a new word. It sets xiao hun down again exactly as before, adds jue lai (waking) in front, chou chang (desolate gloom) and wu (to mislead, to waste) behind. The same word appears twice, and the difference between the two occurrences is where the pain shifts: the first hurts while the dreamer sleeps; the second is seen by the waking self and is judged a wasted torment. The lower stanza then turns to more tangible ways of giving the feeling a place: on waking comes the thought of a letter; when the letter offers no assurance, the poem turns to the strings.
从写信退到弹筝 · From the letter back to the zither
下片分三层递进：先想「书尺素」，把这份情写进信里；接着「浮雁沉鱼」，点出音信难凭，「终了无凭据」又说即使写成也没有可靠消息。写信无着，才转向弦上：「却倚缓弦歌别绪」，一个「缓」字让弦音低回。结句「移破秦筝柱」，「破」可作移尽、移遍解；弦柱一处处移过，弹奏仍在继续，声音却已带出「断肠」的悲痛。
The lower stanza advances in three stages. First comes the letter, an attempt to set the feeling down. Then “floating geese, sinking fish” conveys how uncertain the news is; zhong liao wu ping ju adds that even if the letter is finished, it offers no reliable word to go by. With writing at an impasse, the speaker turns to the strings: huan xian slows and softens their sound. In the closing line, po can mean shifting through all the zheng bridges. One by one they are moved; the playing continues, while the sound carries the heartbreak named by duan chang.
来源与译注说明
上片结句，另有选本作「觉来惆怅佳期误」，清代《御选历代诗余》即如此；本篇依朱孝臧编《宋词三百首》取「消魂误」。两种文字下句子的对象不同：作「消魂误」，醒来怨的是这场如失魂般的梦本身；作「佳期误」，则把耽误指向约定的相会。上片结句的理解随所取版本而变，请读者留意本篇的取舍。
下片「却倚缓弦」，清代《御选历代诗余》作「却倚鹍弦」。本篇依《宋词三百首》取「缓弦」。两种文字都通：作「缓弦」，弦音放松，弹的是放低了的声音；作「鹍弦」，则着眼于弦的质地名贵。末二句的声音由此有松、劲之别，理解时请以本篇所取文字为准。
古文岛将「终了」注作「纵了，即使写成」。因此本篇按让步语气理解：「终了无凭据」是说即使写成，也没有可靠的音信可凭。「无凭据」保留“不可靠、靠不住”之意；这里不进一步断定信件具体如何传递。