111. 与诸子登岘山（孟浩然）
正文
现代汉语译文
正文
人事有代谢，往来成古今。
现代汉语译文
人间的事总有更替变化，来来往往之间就成了古今。
起句说理，是全诗的议论核心：人事不断更替，时间就在这个过程中分出了古今。两句一开，气象很大。
正文
江山留胜迹，我辈复登临。
现代汉语译文
江山留下了名胜古迹，我们这些人又来登临。
「留」和「复」相呼应：前人留下胜迹，后人不断登临。这两句把「古今」具体化成了一种代代相传的行为。
正文
水落鱼梁浅，天寒梦泽深。
现代汉语译文
水位下降，鱼梁洲露出，显得浅了；天气寒冷，云梦泽显得更加深渺。
两句写登临所见的实景，一浅一深。鱼梁和云梦泽都有历史典故，写景同时也是在用典。
正文
羊公碑字在，读罢泪沾襟。
现代汉语译文
羊公碑上的字还在，读完碑文，泪水沾湿了衣襟。
羊祜镇守襄阳有惠政，死后百姓在岘山为他立碑，见者落泪，称「堕泪碑」。末句写自己读碑而哭，把登临的感慨落到了实处。
赏析 · Commentary
「人事有代谢，往来成古今」为什么像格言 · Why Human Affairs Have Their Renewals Sounds Like a Maxim
这两句写得很概括，几乎可以独立成一句格言。好处在于它把「古今」这个抽象概念解释成了一个过程——不是时间突然分出了古和今，而是人的来来往往累积成了古今。这样一来，登临怀古就有了根据：我们今天的登临，将来也会成为后人的「古」。诗的后半因此顺理成章：看景、读碑、落泪，都是这个「代谢」中的一环。
These lines are so general they could stand alone as a maxim. Their merit is explaining past and present, an abstraction, as a process — time did not simply divide into old and new; people's comings and goings accumulated into them. With that, climbing and recalling the past gains its ground: our climbing today will become the past of those after. The poem's second half follows naturally — seeing the view, reading the stone, weeping — each a link in that renewal.
堕泪碑的来历 · The Origin of the Stone of Falling Tears
羊祜是西晋名将，镇守襄阳十年，深得民心，死后百姓在岘山他常游之处立碑纪念，见碑者无不流泪，因此得名「堕泪碑」。孟浩然写这首诗时正在襄阳，登岘山见碑。这个典故的重量在于：羊祜本人也曾登岘山，感叹过「自有宇宙，便有此山」。所以孟浩然流泪，不只是为羊祜，也是为所有登临过这座山、又都已不在的人——包括他自己。
Yang Hu was a general of the Western Jin who governed Xiangyang for ten years and was deeply loved; after his death the people raised a stone at the place on Xian Mountain he often visited, and all who saw it wept, hence the name. Meng Haoran wrote this at Xiangyang, climbing Xian Mountain to see the stone. The allusion's weight is that Yang Hu too had climbed the mountain and remarked that since the world began, this mountain had been. Meng Haoran's tears then are not only for Yang Hu but for all who climbed and are gone — himself included.
这是「登临诗」的典型结构 · This Is the Typical Shape of a Climbing Poem
登临诗的常见结构是：先发议论或感慨，再写所见之景，最后落到古人身上以自伤。这首正好符合：首联议论（人事代谢），颔联承（登临），颈联写景（水落天寒），尾联怀古自伤（读碑落泪）。四联的推进是从抽象到具体、从眼前到历史。掌握这个结构，再看其他登临诗，如陈子昂的《登幽州台歌》，会发现它们走的都是同一条路。
A climbing poem commonly runs: reflection or lament first, then the scene in view, and last a turn to figures of the past to wound oneself. This poem fits exactly: the opening reflects (human affairs renew), the second carries it forward (we climb again), the third gives the scene (falling water, cold air), the last recalls the past and grieves (reading the stone, weeping). The four couplets move from abstract to concrete, from before the eyes to history. Grasp the shape and other climbing poems — Chen Zi'ang's Song on the Youzhou Terrace — will be found to take the same road.