17. 夏日南亭怀辛大（孟浩然）
正文
现代汉语译文
正文
山光忽西落，池月渐东上。
现代汉语译文
山间日光忽然向西落下，池上月亮渐渐从东边升起。
「忽」与「渐」对举：日落快、月升慢，是同一段时间里的两种节奏。
正文
散发乘夕凉，开轩卧闲敞。
现代汉语译文
披散着头发受用傍晚的凉意，打开窗户，躺在空阔的地方。
「散发」是不束发。古人束发才成礼，散着就是把这些规矩放下。「闲敞」既说屋子宽，也说人的状态松。
正文
荷风送香气，竹露滴清响。
现代汉语译文
荷塘上的风送来香气，竹叶上的露水滴下去，声音清亮。
一句管鼻子，一句管耳朵，都不管眼睛。夜里看不清，剩下的就是气味和声音。
正文
欲取鸣琴弹，恨无知音赏。
现代汉语译文
想把琴取来弹一曲，又惋惜没有听得懂的人。
「欲取」是动作刚要起，「恨」把它按住。全诗在这个念头上一拐，从纳凉转到想人。
正文
感此怀故人，中宵劳梦想。
现代汉语译文
因为眼前这些想起老朋友，半夜里在梦中费心找寻。
「劳」字下得实：想一个人想到梦里去，是件费力的事。收在梦里，也说明他始终没等到。
赏析 · Commentary
「忽」与「渐」 · "Suddenly" and "Gradually"
前两句写的是同一段时间。「忽」写日光退得快，「渐」写月色来得慢，两个副词摆在对称的位置上，一个收一个放。到第三句人已经在这段时间里坐定了：散发、开窗、躺着。孟浩然不写他看了多久，只给两个动作的结果，中间那段空白正好安放他的闲。这一联把傍晚的两种速度并排放好，后面四句都发生在那段慢的里面。
The first couplet covers one stretch of time. "Suddenly" is the daylight leaving fast, "gradually" the moonlight arriving slowly; the two adverbs stand in matched positions, one closing and one opening. By the third line the man is already settled inside that stretch — hair down, window open, lying there. Meng Haoran does not say how long he watched, only the outcome of two movements, and the gap between them is where his idleness sits. This couplet lays the two speeds of evening side by side, and the four lines after it take place inside the slow one.
一个只有气味和声音的夜 · A Night of Scent and Sound Only
第三联两句各管一种感觉：风送荷香是闻到的，露滴竹响是听到的。眼睛在这首诗里几乎退场。这不是疏忽。夜里光弱，看得见的东西少，气味和声音反而清楚。两句都不用形容词，荷香怎么送、露水怎么滴，全交给动词。孟浩然写夜不铺陈景致，只拣两样在黑暗里仍然有效的东西来写。
The third couplet gives one sense to each line: wind carrying lotus scent is smell, dew striking bamboo is sound. Sight has all but left the poem. This is not an oversight. In low light there is little to see, so scent and sound sharpen instead. Neither line uses an adjective; how the wind carries and how the dew falls is left to the verbs. Meng Haoran writes night not by spreading out scenery but by choosing the two things that still work in the dark.
从纳凉到想人 · From Cooling Off to Wanting Someone
第四联是全诗的转轴。前面三联动都没出这个院子，到这里忽然有个做不完的动作：想弹琴，又没有听的人。琴的念头一起，「无知音」就把他推到第五联的故人身上。末句的「劳」不轻，思念在梦里变成一件耗气力的事。前面写得那样凉那样静，是为了让这一句的落空有分量。
The fourth couplet is the hinge. For three couplets nothing has left the courtyard; here an unfinished action appears — he wants to play, and there is no one to hear. Once the lute comes to mind, having no one who understands pushes him toward the old friend of the last couplet. The final verb is not light: longing becomes an effortful thing in a dream. All the coolness and quiet before it exist so that this disappointment carries weight.