3. 下终南山过斛斯山人宿置酒（李白）
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现代汉语译文
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暮从碧山下，山月随人归。
现代汉语译文
傍晚从青翠的终南山下来，山月一路跟着人回家。
分量全在一个「随」字。诗里没写白天怎么游山，兴致却从这个字里透出来：人不觉得倦，才会觉得月亮在陪着自己。
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却顾所来径，苍苍横翠微。
现代汉语译文
回头望下山的小路，暮色苍茫，横在青翠的山腰上。
「却顾」是回头看，这个动作本身就带着不舍。「苍苍」写暮色，「横」有笼罩的意思。一句里既是景，也是人舍不得走。
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相携及田家，童稚开荆扉。
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与山人相互搀扶着到了他家，孩子们跑出来打开柴门。
「相携」既说明亲近，也说明夜行山路确实要互相扶持。孩子来开门，让这地方有了人气；「荆扉」是柴门，正好配一位选择清简生活的隐士。
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绿竹入幽径，青萝拂行衣。
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走进绿竹掩映的幽静小路，垂下的青萝拂着行人的衣裳。
两句全是感官细节，没有一句评论。青萝是女萝，从树上垂下如丝，人走过就被拂到；住处的清幽是用身体的感觉写出来的。
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欢言得所憩，美酒聊共挥。
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谈笑得很开心，又有了歇息的地方，便一起举杯畅饮美酒。
「得所憩」不只是夸屋子，是说碰上了一个谈得来的人。「挥」是举杯，下手不轻，李白喝酒的样子就在这个字里。
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长歌吟松风，曲尽河星稀。
现代汉语译文
放声长歌，唱的是《风入松》；一曲唱完，银河里的星已经稀疏。
「松风」既是古乐府《风入松》的曲名，也照应上文满山的苍翠。歌停下来才抬头看天，才发现夜深了——时间是被歌声量出来的。
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我醉君复乐，陶然共忘机。
现代汉语译文
我醉了，你也高兴，两个人陶然忘掉了世俗的机巧之心。
「忘机」是道家语，忘掉算计与巧诈。全诗从头到尾没有一句豪言，最后落在一个「忘」字上：这一夜的价值，是把平时必须绷着的那根弦松下来。
赏析 · Commentary
一路下来 · Coming Down the Mountain
前四句写一个连续的下山过程，节奏慢。「暮从碧山下」交代时间和方向，「山月随人归」让月亮跟着人走，「却顾所来径，苍苍横翠微」又回头看走过的路，只剩一片青翠。四句里人的动作只有两个：走和回头。其余是山色和月光。李白写这条路不带急，写的是愿意慢慢走完的那个人。
The first four lines describe one continuous walk downhill, and the pace is unhurried. One line sets the hour and the direction; the next has the mountain moon following the man home; then he turns to look back at the path he came down, and there is only green. Of the four lines the man performs exactly two actions — walking, and looking back. Everything else is mountain colour and moonlight. Li Bai writes this path without hurry: what he is writing is the person happy to take it slowly.
田家的门 · The Door of the Farmhouse
「相携及田家」以下四句写到家，用五个细节铺开：童子开柴门，绿竹夹着小路，青萝拂过衣襟，坐下来说话，酒端上来。没有一个字写「热情」，热情全在这些动作里。斛斯山人是隐者，李白写他的家不写陈设，只写入门那一段路——竹径和拂衣的青萝，都是要走过才碰得到的东西。
From "we arrive together at the farmhouse" the next four lines lay out the arrival in five concrete details: a child opening the brushwood gate, green bamboo closing in on the path, ivy brushing against the coat, sitting down to talk, wine set out. Not one word says "hospitality." The hospitality is entirely in the actions. Hu Si was a recluse, and Li Bai describes his house without describing its furnishings — only the stretch of path you walk to get in. The bamboo and the brushing ivy are things you meet by going through them.
松风与河星 · Pine Wind and River Stars
「长歌吟松风，曲尽河星稀」里，李白不写夜深，他写歌声唱完，抬头看见银河边的星已经稀了。时间是这样交代的——用一个动作的结束换一次抬头。这两句也把前面的热闹收住：唱完了，剩下的是星。
In "we sing long, chanting into the pine wind; when the song ends, the river stars have thinned", Li Bai does not say the night has grown late. He says the singing finished, and on looking up, the stars along the river of heaven had already thinned. Time is given this way — the end of one action exchanged for a raising of the head. The couplet also closes down everything lively that came before it. The song is over. What remains is stars.
忘机 · Forgetting Calculation
「我醉君复乐，陶然共忘机」收在两个人身上：我醉了，你也高兴，于是一起忘了机心。「忘机」出自《列子》海上之人日与鸥鸟相处、鸥鸟不惊的故事——一旦起了捉鸟的念头，鸟就不再下来。李白用它说的是两人之间不必设防，而不是说他真的忘掉了仕途。全诗从下山写到这一句，最后落在一种不必解释的相处上。
The poem closes on two people: I am drunk, you are happy, and together we forget all calculation. The phrase "forgetting calculation" refers to the story in the Liezi of the man who spent every day among the gulls, until the moment he thought of catching one, after which they would no longer come near. Li Bai uses it to describe two people who do not need to guard against each other — not to claim he has actually forgotten his career. The poem has walked from the mountainside down to this line, and it lands on a kind of company that requires no explaining.