32. 晨诣超师院读禅经（柳宗元）
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现代汉语译文
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汲井漱寒齿，清心拂尘服。
现代汉语译文
从井里打水漱漱发凉的牙，让心清净，拂去衣上的尘土。
两句都是预备：净口、净心、净衣。读经以前先把身上弄干净，是一套动作。
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闲持贝叶书，步出东斋读。
现代汉语译文
闲闲地拿着贝叶写的经书，走出东边的书斋去读。
「贝叶书」是佛经的旧称，写在贝多罗树叶上。「步出」说明他不是坐着读，是边走边读。
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真源了无取，妄迹世所逐。
现代汉语译文
真正的本源，全然无所可取；虚妄的形迹，世人却争着追逐。
「了无取」的「了」是完全。这两句在读经时起了疑：世人追的都是形迹，那真东西到底在哪。
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遗言冀可冥，缮性何由熟。
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佛留下的言教，希望能暗自契合；可修养本性，又要怎样才能纯熟呢。
一句是希望，一句是发问。前一句放下去，后一句又把它提起来，疑始终没解。
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道人庭宇静，苔色连深竹。
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僧人的庭院一片安静，苔藓的颜色连着深处的竹林。
从「读经」转到「看院子」。两句都是色和静，没有一个动词。
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日出雾露余，青松如膏沐。
现代汉语译文
太阳出来，雾气露水还未散尽，青松像刚洗过、抹了油一样。
「膏沐」是洗沐后上的油脂。写松不用绿、不用挺，写的是它刚被露水洗过的样子。
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澹然离言说，悟悦心自足。
现代汉语译文
心境淡然，离开了言语论说；有所领悟而欢喜，心里自然满足。
前面读经时那个疑问，末联不回答了。收在「离言说」上，等于说那个答案不在话里。
赏析 · Commentary
读经前的那些动作 · The Actions Before Reading
开头两联六个动作，全是准备：打水、漱齿、清心、拂衣、持书、出门。柳宗元一件一件写出来，节奏很慢。他刚被贬到永州，身体也不好，这套仪式对他来说不只是仪式，是把一天开始的方式固定下来。动作写到最后是「步出东斋读」，从屋里走到院子里，全诗的场地也跟着移了出去。
The first two couplets hold six actions, all of them preparation: drawing water, rinsing teeth, quieting the mind, brushing clothes, taking up the book, walking out. Liu Zongyuan writes each one out, and the pace is slow. He had just been exiled to Yongzhou and was in poor health; for him the routine is not merely ritual but the way a day is made to begin. The actions end with walking out to read, and the poem's setting moves outside with him.
读着读着起了疑 · Doubt Arises Mid-Reading
第三、四联是全诗的骨头。柳宗元在读经，读出来的却是疑问：真源无可取，世人追的是妄迹，那么经文里的遗言究竟能不能对上？「冀」是希望，「何由」是怎么可能，两个词把一句希望和一句怀疑并排放在一起。他没有装成已经悟了的样子，把没解开的疑问照实写在读经的早晨里。
The third and fourth couplets are the poem's bone. He is reading scripture and what comes out is a doubt: nothing can be taken from the true source, the world runs after empty traces, so can the words left behind ever match up. One word is a hope, another asks by what means, and the two set a hope and a suspicion side by side. He does not pretend to have already understood; he writes the unresolved doubt into the morning as it was.
疑问留在话外 · The Question Left Outside Speech
后三联换了对象：苔色、青松、日出后的雾气，全是院子里看得见的东西，一个动词也没有。柳宗元不再回答前面那个问题，让景自己接着说。末联的「离言说」是全诗的关键，它既是对佛理的领会，也是对前面疑问的处置办法——不答，因为答案不在言语里。结尾仍是「心自足」，听起来平静，但「自」字说明这个满足只有他自己知道，没有别人能给他作证。
The last three couplets change object: moss, pines, the mist after sunrise, all things visible in the courtyard, with no verb anywhere. Liu Zongyuan stops answering the earlier question and lets the scene go on for him. The phrase about being beyond speech is the poem's key: it is both an understanding of the doctrine and his way of handling the doubt — not answering, because the answer is not in words. The ending is still a heart sufficient to itself, which sounds calm, but the word "itself" says the sufficiency is known only to him, with no one to confirm it.