121. 饯别王十一南游（刘长卿）
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现代汉语译文
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望君烟水阔，挥手泪沾巾。
现代汉语译文
望着你远去，烟波浩渺；挥手作别，眼泪沾湿了手巾。
「阔」是水天开阔，也是此后阻隔的空间。上句写目送，下句写手足无措的那一下。
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飞鸟没何处，青山空向人。
现代汉语译文
飞去的鸟不知消失在何处，青山空自对着人。
「空向人」的「空」是白对着人、无人应答。人走了，山水还在，反而显得多余。
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长江一帆远，落日五湖春。
现代汉语译文
长江上一片孤帆渐远，落日下五湖一带正是春色。
上句是眼前，下句是想象——王十一要去的江南，此时正是春天。一实一虚。
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谁见汀洲上，相思愁白苹。
现代汉语译文
有谁看见沙洲之上，我对着白苹草相思发愁？
「白苹」是水中浮草，古诗里常作离别与漂泊的意象。「谁见」一问，把相思说成无人知晓的事。
赏析 · Commentary
四联就是四个镜头 · Four Couplets, Four Shots
这首诗几乎没有叙事，四联各是一幅画面：送别时的手巾、远去的飞鸟、江上的孤帆、沙洲上的浮萍。它们按远近距离排开，从贴身的动作一直到天边，最后又落回脚边的水草。刘长卿不解释自己的心情，「相思」两个字只在末句出现一次，位置却很好——前面所有的画面都成了它的注脚。
There is almost no narrative here; each couplet is a picture: the handkerchief at parting, the birds flying off, the lone sail on the river, the duckweed at the sandbar. They are arranged by distance, from a gesture at arm's length out to the horizon and back down to the plants at his feet. Liu Changqing does not explain his feeling. The word "longing" appears once, in the last line, and sits well — every image before it becomes its footnote.
「空」字在这首诗里做什么 · What "Empty" Is Doing Here
第三句的「空向人」是全诗最冷的一句。人已远，山水却还在摆给你看，这个「空」不是形容山水，是形容人的处境：面对风景而无人在旁，风景就成了一种提醒。唐代送别诗常把这一层单拎出来写，因为离别真正难受的部分不是告别的那一刻，是之后的许多天。
"Empty before a man" is the coldest line in the poem. The friend is far away and the landscape still arranges itself for you to look at; the emptiness is not in the landscape but in the man's position — facing scenery with no one beside him turns the scenery into a reminder. Tang farewell poems often isolate this layer, because the hard part of parting is not the moment of goodbye but the many days after it.
白苹为什么把诗收住了 · Why Duckweed Closes the Poem
末句用了一个很小的东西：沙洲上的一种水草。送别诗写到远方、写到春色，容易越写越空；刘长卿在最后拉住，回到眼前，回到一株草上。「愁白苹」是通感式的说法，愁在草上而不在人身上，等于把自己的心情推给景物去承担。这一推，诗就从抒情落回了画面。
The last line uses something very small: a water weed on a sandbar. Farewell poems that reach for distance and spring easily thin out; Liu Changqing pulls back at the end, returns to what is before him, returns to a plant. "Grieving the duckweed" is synaesthetic — the grief is placed on the plant rather than on the man, which hands his feeling over to the scene to carry. With that hand-off the poem settles from lyric back into picture.