16. 秋登兰山寄张五（孟浩然）
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现代汉语译文
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北山白云里，隐者自怡悦。
现代汉语译文
北山在白云深处，隐居的人在那里自得其乐。
两句从陶弘景「山中何所有？岭上多白云。只可自怡悦，不堪持赠君」化出。「隐者」指张五，山是他的山，乐也是他一个人的乐。
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相望试登高，心飞逐鸟灭。
现代汉语译文
想望见他，就试着登高；心跟着飞鸟，飞着飞着就没了。
「试」是说登高也未必看得见，先试一下。「心飞逐鸟灭」写的是望的动作停下来之后——眼里找不着人，跟着鸟走，最后鸟也没了。
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愁因薄暮起，兴是清秋发。
现代汉语译文
愁是傍晚勾起来的，兴致是清秋引出来的。
两句一愁一兴，背后是同一件事：等的人没来。愁和兴各有各的来处，都起在这个傍晚。
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时见归村人，沙行渡头歇。
现代汉语译文
不时看见回村的人，走过沙滩，在渡口歇脚。
「时见」说明他是站在高处一路看下去。前面望的是张五，这里看见的是别人在往家走。
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天边树若荠，江畔舟如月。
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远到天边的树看着像荠菜，江边的船像一弯月。
两句都靠一个「像」把距离写出来。树小到像荠菜，说明看得极远；「舟如月」写的是船身的弧。
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何当载酒来，共醉重阳节。
现代汉语译文
什么时候你带酒来，我们重阳节一起喝个痛快。
前面六句的望、愁、兴，最后收在一句约期上。「何当」是商量的口气，不是定日子。
赏析 · Commentary
登高的顺序 · The Order of the Climb
这首诗的次序很干净：先写张五在山上，再写自己登山，然后写登上去之后看见的东西。第二联是转折——登高为了望人，望不到，心就跟着鸟飞，最后鸟也没了。孟浩然没有写望了多久，只给了「灭」这个结果。这个结果定下后面几联的调子：人还在山上，想做的事已经做完了。
The order of the poem is plain. First Zhang Wu up on the mountain, then the climb, then what is seen from the top. The second couplet is the turn: he climbs in order to see his friend, fails, and his heart goes after a bird until the bird too is gone. Meng Haoran does not say how long he looked, only that the bird vanished. That result sets the tone for the rest: he is still on the mountain, and what he came to do is already over.
愁和兴各有来处 · Sorrow and Mood, Each With Its Source
第三联把两个词分到两边：愁归傍晚，兴归清秋，各有各的来处，却发生在同一次登高里。孟浩然不解释这两样为什么能同时存在，后面四句就是答案——村人回家、树小如荠、江边舟如月，看见的全是别人和极远的景，里面没有张五。愁是等人不来，兴是眼前这个秋天本身好。两句并排一放，先把这首诗的两股力气点出来，再交给景物去分。
The third couplet puts one word on each side: sorrow belongs to the dusk, mood to the clear autumn. Each has its own source, and both happen in the same climb. Meng Haoran does not explain how they coexist; the four lines that follow are the explanation. Villagers going home, trees small as cress, a boat like a crescent — everything seen is other people and great distance, and none of it is Zhang Wu. The sorrow is waiting for someone who does not come; the mood is that this autumn evening is good in itself. Set side by side, the two lines name the poem's two forces before the scenery divides them.
从望人转成望景 · From Watching for a Man to Watching a Scene
第四、五联不再提张五。看到的都是别人的归和极远的东西：村人回村、渡口歇脚、天边的树、江边的船。「天边树若荠」把距离推到头——树小到像荠菜，说明望得极远，也说明人确实不在那里。孟浩然把这个「不在」写得没有怨气，他仍然把眼前这个傍晚当好好景在看。末联才回到张五，约他重阳带酒来，用商量的口气，不催也不追。
The fourth and fifth couplets drop Zhang Wu entirely. What is seen is other people's homecoming and things very far off: villagers going back, resting at the ferry, trees at the edge of the sky, a boat on the river. "Trees like cress" pushes the distance as far as it will go — small enough to be cress means the eye has travelled a long way, and means the man is not there. Meng Haoran writes the absence without complaint; he goes on treating the evening as something good to look at. Only the last couplet returns to Zhang Wu, inviting wine on Double Ninth in a tone of suggestion that neither hurries him nor chases after him.