13. 青溪（王维）
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现代汉语译文
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言入黄花川，每逐青溪水。
现代汉语译文
进黄花川，总是跟着青溪的水走。
「言」是发语词，没有实义。「每逐」说明这条路他走过不止一回。
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随山将万转，趣途无百里。
现代汉语译文
溪水顺着山势转上千道弯，走完全程却不到一百里。
「将万转」和「无百里」是一对：弯数极多，路程极短。王维写同一段山路时另有「危径几万转」一句，用的是一样的说法。
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声喧乱石中，色静深松里。
现代汉语译文
水在乱石间响得喧闹，到松林深处又静得只剩颜色。
上句给声音，下句给颜色，用「喧」「静」两个感觉的词对起来。水是同一条，变的是它经过的地方。
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漾漾泛菱荇，澄澄映葭苇。
现代汉语译文
水波摇着浮在水面的菱叶荇菜，清水里映出芦苇的影子。
两句都不直说水，只写水里有什么——能托住水草，能照见芦苇。水是平是清，从这两件事上自己出来。
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我心素已闲，清川澹如此。
现代汉语译文
我的心本来就闲，这条清溪也淡成这样。
「素已闲」是说闲不是溪水给的，自己本来就有；「澹如此」是说水也正好是这个样子。全诗到这一联才第一次出现「我心」。
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请留盘石上，垂钓将已矣。
现代汉语译文
就留在大石头上，拿起钓竿，一辈子也就这样了。
「垂钓」用严光在富春江钓鱼的旧事，说的是隐居。「将已矣」把话说到底，等于替自己定下了去处。
赏析 · Commentary
「逐」这一个动作 · The One Action: Following
开头两句只下一个动作：逐。他进黄花川的方式是跟着水走，水转到哪，人跟到哪。第二联补出这个动作的代价——转上千道弯，走不到一百里。两句连起来看，「逐」就不是随手用的字：正因为路短弯多，才要一路顺着走。后面写水声、水色、水中的菱荇葭苇，都是这个动作的延长。等到第五联写自己的心，读者已经跟他走完了全程。
The opening couplet puts a single action into the poem: following. He enters Yellow Flower Creek by walking along the water, turning wherever it turns, and the second couplet adds the cost of that — a thousand bends under a hundred li. Seen together, the verb is not a casual choice: precisely because the road is short and crooked, one has to follow it step by step. Everything after — the sound, the colour, the floating cress, the reeds — extends that one action. By the fifth couplet, when the poem finally speaks of the speaker's heart, the reader has walked the whole way with him.
声与色怎么分家，又怎么合流 · Where Sound and Colour Split, and Where They Join
第三联两句分得很干净：乱石一段给声音，深松一段给颜色。同一条溪水被拆成两种感官分开写。到第四联两种感官又合回水里——菱荇浮在水面是看得见的动，葭苇映在水里是看得见的静。四句排下来，没有一句直说水清或者水缓，清和缓都是从水里浮着、映着的东西上读出来的。这是王维写景物的习惯：要写水，就写水里有什么。
The third couplet splits cleanly: the broken rocks take the sound, the deep pines take the colour. One stream is divided between two senses and written separately. In the fourth couplet the senses join again in the water — cress floating on the surface is motion you can see, reeds mirrored in it are stillness you can see. Across all four lines the poem never states that the water is clear or slow. Both are read off the things floating in it and reflected by it. This is Wang Wei's habit with landscape: to write water, write what the water holds.
心和水最后对上 · The Heart and the Water, Finally Matched
第五联才出现「我心」。位置很讲究：前面四联一直在写景，人不在场。这句说闲是自己本来就有的，水正好也是这个样子，两边各有各的来源，碰上而已。末联接着这个对上，提出留下来钓鱼。「垂钓」用严光富春江的旧事，说的是隐居。全诗从「逐」开始，到「留」结束，一个在走动，一个定下来。
Only the fifth couplet says "my heart". The placement matters: four couplets of scenery have gone by with no person in them. The line says the ease was already his and the water happens to be the same, so the two have separate sources and merely meet. The closing couplet takes that meeting and proposes staying to fish; the rod alludes to Yan Guang on the Fuchun River, which is to say a life in retreat. The poem begins with following and ends with staying — one motion, then a settlement.