127. 赋得暮雨送李曹（韦应物）
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现代汉语译文
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楚江微雨里，建业暮钟时。
现代汉语译文
在楚江的濛濛细雨里，正是建业城中敲响晚钟的时候。
「赋得」是命题作诗，题目「暮雨」是给定的。「楚江」「建业」把送别的地点落在实处。
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漠漠帆来重，冥冥鸟去迟。
现代汉语译文
迷雾中驶来的船帆显得沉重，昏暗里飞去的鸟儿也慢了下来。
「漠漠」「冥冥」两个叠字写雨的浓密。「重」和「迟」是雨的效果——船重鸟迟，都是因为湿。
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海门深不见，浦树远含滋。
现代汉语译文
入海之处深远得看不见，远远的岸边树色里含着一片湿润。
「含滋」是含着水气，一个「含」字把远处景物写成正在吸收雨水。
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相送情无限，沾襟比散丝。
现代汉语译文
相送的情意没有边际，泪水沾湿衣襟，可比散落的雨丝。
「散丝」是细密的雨丝。末句把泪和雨合在一处，用一个「比」字完成对照。
赏析 · Commentary
命题作诗怎么写得不呆 · A Set Topic, Handled Without Stiffness
「赋得」是考场或集会上按给定题目写的诗，最容易写成堆砌。韦应物的做法是把题目当真事来写：雨就是眼前正在下的雨，送别就是眼前正要发生的送别。于是每句都在写雨（微雨、帆重、鸟迟、含滋、散丝），同时每句都在写送别（暮钟、帆来、浦树、相送、沾襟）。题面被用尽了，诗却没有一句在点题。
A "matching the topic" poem written to an assigned subject at an examination or gathering easily turns into padding. Wei Yingwu treats the topic as something actually happening: the rain is raining now, the parting is happening now. Every line describes rain (fine rain, heavy sail, slow bird, moisture, threads) and every line describes a parting (evening bell, sail approaching, river trees, seeing off, wet lapel). The topic is used up and not one line announces it.
末句的眼泪和雨 · Tears and Rain in the Last Line
「沾襟比散丝」是全诗唯一的直接抒情处，好在它没有直接。作者没有说「我哭了」，只说衣襟上的水多得和雨丝一样——读者自己算得出里面有多少是泪。这种写法有一个好处：把私人情感混进公共的天气里，既说清了，又不外露。唐诗里凡涉及送别与雨，多半会用上这一手。
"Wet lapel, compared to scattered threads" is the poem's only open feeling, and its virtue is that it is not open. The poet does not say "I wept"; he says there is as much water on his front as there are threads of rain — and the reader does the arithmetic. The device has a use: it mixes private feeling into public weather, saying it without exposing it. In Tang verse, farewells and rain usually bring it out.
叠字在雨里的作用 · Doubled Words in Rain
「漠漠」和「冥冥」不能换成「浓密」「昏暗」。叠字延长了读音，读起来本身就有雨幕一层层的感觉，这是单字做不到的。另外这两个词都是模糊的、无边的，正合雨天的视觉——看不清，也没边界。韦应物选词很省，全诗只用了这两个叠字，位置在第三句和第四句，把雨最浓的那一段标了出来。
"Mo-mo" and "ming-ming" cannot be swapped for plain words like "dense" or "dim." Reduplication lengthens the sound, and the reading itself produces the sense of rain as one screen after another, which single characters cannot do. Both words are also vague and borderless, matching how rain looks — nothing clear, nothing bounded. Wei Yingwu is sparing: only these two doubled words in the whole poem, placed in lines three and four, marking where the rain is thickest.