108. 汉江临眺（王维）
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现代汉语译文
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楚塞三湘接，荆门九派通。
现代汉语译文
汉江流经楚地边塞，与三湘之水相接；到了荆门，又与众多支流相通。
「三湘」「九派」写水系的广大。首联从地理着眼，交代汉江的位置和流向，格局开阔。
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江流天地外，山色有无中。
现代汉语译文
江水流向天地之外，远山的颜色在若有若无之间。
这是全诗的名句。「天地外」写江之远，「有无中」写山之淡。两句都把景物推到视觉的极限，是写远景的绝唱。
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郡邑浮前浦，波澜动远空。
现代汉语译文
城邑仿佛浮在前面的水边，波涛的起伏震动着遥远的天空。
「浮」和「动」都是错觉：城不会浮，是水在动；天不会动，是波在荡。两句写水面的广阔，连城池和天空都被带动了。
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襄阳好风日，留醉与山翁。
现代汉语译文
襄阳的风光天气真好，我要留下来和山简那样的地方长官一同醉饮。
「山翁」指晋代山简，镇守襄阳时常饮酒。末联由景入人，表示愿意留在此地畅饮，是对襄阳风物的赞许。
赏析 · Commentary
「山色有无中」为什么被反复称道 · Why Hills Between Being and Nothing Is So Praised
「江流天地外，山色有无中」两句，历来被认为是写远景的极则。「江流天地外」写水，江流到看不见的地方，像是流出了天地之外；「山色有无中」写山，远山淡到几乎看不见，介于有和无之间。两句的共同点是都写到视觉的边界——超越了这个边界，景物就只剩「流着」和「似乎有」两种状态。这种写法要求诗人对远距离的视觉经验非常敏感，王维作为画家，正长于此。
The river flows beyond heaven and earth, the hills' color between being and nothing are long held to be the summit of far-view writing. The first writes water flowing where it cannot be seen, as though out past heaven and earth; the second writes hills so faint they nearly vanish, between existing and not. What they share is writing to the boundary of sight — beyond it, the scene is left as only flowing and seeming to be. The method demands acute sensitivity to long-distance seeing, and Wang Wei the painter excelled at it.
王维写水的不同层次 · The Layers of Wang Wei's Water
这首诗四联都在写汉江，但角度各不相同。首联写水系的地理联系，颔联写江山的远景，颈联写水面的波动，末联写人对这片水的态度。四联由地理到视觉、到错觉、到情感，一步步走近。王维写水善于分层：远看是「天地外」，近看是「浮前浦」，再近是「波澜动远空」。同一片水，在不同距离上呈现不同的样子。
All four couplets write the Han River, each from a different angle. The opening gives the water system's geographical links, the second the far view of river and hills, the third the motion of the surface, the last a person's attitude toward it. The four move from geography to sight to illusion to feeling, drawing nearer at each step. Wang Wei layers water well: from afar it is beyond heaven and earth, nearer it is towns floating on the bank, nearer still the waves shake the distant sky. One body of water takes different looks at different distances.
末联的「山翁」是谁 · Who Is Master Shan
「山翁」指晋代的山简，他曾镇守襄阳，性好饮酒，常到习家池宴饮，醉后骑马而归。襄阳人为此作歌。王维用这个典故，是把襄阳的风物和一个熟悉这片土地的历史人物联系起来，等于说：这里的风光好，好到连古人都愿意在此长醉。末联看似随口一句留醉，背后是这个典故在撑。
Master Shan is Shan Jian of the Jin, who governed Xiangyang, loved drink, often feasted at the Xi family pool, and rode home drunk. The people of Xiangyang made a song of it. Wang Wei uses the allusion to tie Xiangyang's scenery to a man who knew the place, in effect saying its beauty is such that even the ancients would drink here long. The last couplet looks like a throwaway wish to stay and drink, and the allusion holds it up.