124. 送僧归日本（钱起）

正文

现代汉语译文

上（shàng）国（guó）随（suí）缘（yuán）住（zhù），（）来（lái）途（tú）若（ruò）梦（mèng）行（xíng）。（）

在中国随缘而居，来时的一路像梦一样走过来。

「上国」是僧人眼中对中国的称呼。「随缘」是佛家语，这里兼写行踪不定与心无执着。

浮（fú）天（tiān）沧（cāng）海（hǎi）远（yuǎn），（）去（qù）世（shì）法（fǎ）舟（zhōu）轻（qīng）。（）

海天相浮，沧海辽远；离世而去的法舟，轻快地行驶。

「法舟」是佛家比喻，以佛法渡人如舟。「轻」字既写船，也写无挂碍。

水（shuǐ）月（yuè）通（tōng）禅（chán）寂（jì），（）鱼（yú）龙（lóng）听（tīng）梵（fàn）声（shēng）。（）

水中月影透着禅的寂静，鱼和龙都在听你诵经的声音。

「水月」是佛典中「水中月」的意象，喻诸法虚幻。「鱼龙听梵」是把讲经的效果写到水下世界。

惟（wéi）怜（lián）一（yī）灯（dēng）影（yǐng），（）万（wàn）里（lǐ）眼（yǎn）中（zhōng）明（míng）。（）

只怜惜那一点灯影，在万里之外也在眼中明亮。

「一灯」既指僧人的灯，也指传法的灯。「万里眼中明」是这首诗的落点：人走了，光还在。

赏析 · Commentary

写给一位日本僧人的送别诗 · A Farewell for a Japanese Monk

被送的人是一位从日本渡海来唐求法的僧人。写这样的对象，最难的是既要写行程，又要写身份。钱起的办法是全诗用佛家语贯穿：随缘、法舟、禅寂、梵声、一灯。这些词既是实指（僧人、船、诵经、灯），又是譬喻（无执、渡人、传法）。双层的写法让一首送别诗带上了经文的质地。

The person seen off was a monk who had crossed the sea from Japan to seek the teaching in Tang China. Writing such a subject, the difficulty is covering both the journey and the vocation. Qian Qi's solution is to thread Buddhist language through the whole poem: karma, dharma boat, meditative stillness, chanting, one lamp. Every term is literal (a monk, a boat, a recitation, a lamp) and figurative (non-attachment, ferrying, transmission). The double layer gives a farewell the texture of scripture.

「万里眼中明」好在哪里 · Where "Bright Across Ten Thousand Li" Succeeds

末句是全诗的落点。前面写的是僧人渡海远去，写的是分别；末句忽然把光留了下来。灯在海那边亮着，也在送行人的眼里亮着，万里是距离，「明」是抵消距离的东西。钱起没有说舍不得，也没有祝福平安，只写了一盏灯，诗意却完整了——因为灯是传法的象征，法不断，人就不算真走。

The last line is where the poem lands. Everything before is a monk crossing the sea, a parting; then a light is left behind. The lamp burns on the far shore and in the eyes of the man seeing him off. Ten thousand li is distance and "bright" is what cancels it. Qian Qi says nothing about reluctance and wishes no safe journey; he writes one lamp and the poem is complete — because a lamp stands for transmission, and while the teaching continues, the man has not really gone.

送别诗的两种收法 · Two Ways to End a Farewell

唐诗的送别结尾大致有两路：一路写空（青山空向人、风尘何处期），一路写不空（一灯影、月照一孤舟）。这首诗走的是第二路，用物象对抗距离。选哪一路，取决于送别的性质——送僧人回国，写「空」就不合适，因为他带走了法。钱起的用词是跟着题材走的，这也是这首诗比一般送别诗耐读的原因。

Tang farewells tend to end one of two ways: on emptiness (hills empty before a man; where will we meet amid the dust) or on non-emptiness (one lamp; moonlight on a single boat). This poem takes the second, fighting distance with an object. Which way to go depends on what the parting is: for a monk returning home, emptiness would be wrong, since he carries the teaching away with him. Qian Qi's diction follows his subject, and that is why the poem outlasts the ordinary farewell.

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