22. 宿王昌龄隐居（常建）
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现代汉语译文
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清溪深不测，隐处唯孤云。
现代汉语译文
清澈的溪水深得探不到底，隐居的地方只有一片孤云。
两句都写「空」：水看不见底，只有云。诗人是来借宿的，先写的却是没有人。
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松际露微月，清光犹为君。
现代汉语译文
松树梢头露出淡淡的月亮，那清亮的光还像是在为你亮着。
「犹为君」的「君」指主人。主人不在这里，月光却还照着，一句话把空屋写成了有人住的地方。
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茅亭宿花影，药院滋苔纹。
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茅亭里落着花的影子，种药的院子里长满了苔痕。
「宿」把花影写成留宿的客人，「滋」写苔藓一天天长。主人不在，这些东西照旧在生长。
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余亦谢时去，西山鸾鹤群。
现代汉语译文
我也要辞别这个时世而去，到西山和鸾鸟白鹤做伴。
「亦」是承接主人：他先隐，我跟上。末句不写自己的心，写西山的鸟，去处落在具体的山上。
赏析 · Commentary
主人不在，住处还活着 · The Owner Is Away and the Place Still Lives
全诗没有一个人出场。第二联的月光「犹为君」照，第三联的花影在茅亭里「宿」、苔痕在药院里「滋」，都是把没有人的地方写成有人过的样子。「宿」和「滋」两个字本来用在活物和日子上，常建把它们安给影子和苔藓，等于说主人留下的痕迹还在自己往前走。这比直接写荒废高明，也比直接写怀念克制。
No person appears in this poem. In the second couplet the moonlight still falls "for you"; in the third, flower shadows lodge in the pavilion and moss spreads in the herb yard, all of it writing a place no one is in as somewhere someone lives. The two verbs belong properly to living things and to days passing, and Chang Jian gives them to shadows and moss, which says the marks the owner left go on moving by themselves. That is subtler than writing abandonment, and more restrained than writing fondness directly.
「君」字撑起的一联 · One Pronoun Holds Up a Couplet
「清光犹为君」的「君」是王昌龄。这个字一出来，前面「唯孤云」的空就有了对象：空不是无人，是人不在。月光照的本来是这一片地方，常建说它「为你」照着，等于替主人把这份所有权保住了。写一行简单的景，藏进去一个不在场的人，这是这首诗里最省力也最结实的一句。
The "you" of "still for you" is Wang Changling. Once the pronoun appears, the emptiness of "only a lone cloud" gains an object: it is not that nobody is there, but that he is not. The light falls on the place in any case; calling it light "for you" keeps the owner's claim on it intact. A plain line of scenery with an absent man folded inside is the lightest and also the firmest line in the poem.
跟上去，而不是羡慕 · Following, Not Envying
末联只用了一个「亦」。前面三联写主人留下的空屋、月光、苔痕，写到这里诗人忽然把自己接上去：他先辞世，我也去。常建没有写羡慕，也没有写自己处境不好，一句「谢时去」就把话说完了。末句落到西山，鸾鹤是仙人的坐骑，去处具体到一座山，这个决定就不是叹气，而是有个地址的。
The last couplet uses one word: "too". Three couplets have shown the empty hut, the light and the moss the owner left behind, and here the poet attaches himself: he took leave of the world first, I go as well. Chang Jian writes neither envy nor complaint about his own position; a phrase about leaving the times is the whole statement. The last line lands on the western hills, and the luan birds and cranes belong to immortals, so the destination is a real mountain. The decision is not a sigh; it has an address.