157. 行经华阴（崔颢）
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现代汉语译文
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岧峣太华俯咸京，天外三峰削不成。
现代汉语译文
高峻的华山俯视着咸阳京城，天外的三座主峰奇峭得不像人力削成的。
削不成三字有歧义而更好：山石如刀削是写实，人力削不成是赞叹——造化之手才削得这样。一个俯字定下全诗视角：山在上，人在下。
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武帝祠前云欲散，仙人掌上雨初晴。
现代汉语译文
汉武帝祠前的云将要散开，仙人掌峰上的雨刚刚放晴。
武帝祠、仙人掌都是华山实景，各带一个传说。云欲散、雨初晴，两个进行中的时刻，写山间的天气变化不定。
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河山北枕秦关险，驿树西连汉畤平。
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黄河华山北靠险要的秦关，驿路两旁的树向西连到平坦的汉代祭坛。
枕字把山河写成躺卧的姿态。秦关、汉畤一对朝代名词，跟上一联的武帝、仙人连成一串：这一带每一处风景都带着历史。
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借问路傍名利客，无如此处学长生。
现代汉语译文
请问路上奔走的那些追名逐利之人：哪里比得上在这里学养生求长生？
结尾忽然劝人。名利的路是驿路，长生的路是仙山，两种路在华山脚下交叉。诗人自己也在路上——这一问也问着自己。
赏析 · Commentary
「削不成」：三个字里的一座山 · No Chisel Could Manage It: A Mountain in Three Words
天外三峰削不成常被读者当作费解的句子，妙处就在歧义。华山三峰石壁如刀削，说「削」是写实；但造化削成的东西，人的斧凿偏偏学不像，说「削不成」又是赞叹。两个字面合在一个短语里，山的奇就出来了。崔颢写山多用大字：岧峣、天外，都是把尺度推到极限；真正让山立起来的反而是这三个字的小弯转。类似的手法还有「仙人掌上雨初晴」——把一座峰的名字直接当风景用，不用解释，山的传说已经在名字里。
Its three peaks beyond the sky, no chisel could manage them often strikes readers as a knotted line, but the knot is the point. The Hua peaks rise in walls like knife-cuts, so carve is description; yet what creation carved human tools cannot copy, so could not be managed is praise. The two senses live in one short phrase, and the mountain's strangeness stands up in it. Cui Hao writes this mountain in large characters — towering, beyond the sky — pushing scale to its limit; what makes it real, though, is the small turn of these three words. The same trick appears in on the Immortal's Palm the rain has just cleared: a peak's proper name used directly as scenery, its legend already inside the name, needing no explanation.
一路的地名都带着朝代 · Every Place Name Comes Trailing a Dynasty
这首诗四联里有六处带历史的地名：咸京、武帝祠、仙人掌、秦关、汉畤，加上题目里的华阴。这不是堆砌——华山脚下确实是周秦汉唐的通道，每一处驿站祭坛都有来历。崔颢把它们排进对仗：秦关对汉畤，险对平，一北一西。地理的铺陈是给结尾作准备的：如果处处都是帝王将相的痕迹，那么「学长生」的劝告就不是空话，而是看够了名利场上人来人往之后说出的话。诗题作「行经」，诗人自己也是过客，这一点让结尾的劝问带上自嘲的余地。
Six place names with histories fill the four couplets: the Xianyang capital, the shrine of Emperor Wu, the Immortal's Palm, the passes of Qin, the altars of Han, to say nothing of Hua-yin in the title. This is not padding — the road at the foot of Hua really was the corridor of Zhou, Qin, Han and Tang, every post station and altar with its story. Cui Hao sets them into parallel: Qin passes against Han altars, peril against level, one north, one west. The geography prepares the ending: when every sight bears the trace of emperors and generals, the advice to learn the way of long life is not idle talk but what one says after watching the traffic of fame and gain. The title says passing through — the poet is a traveler too, and that gives the closing question its edge of self-mockery.
劝人求仙，也劝自己 · Advising Others to Seek Long Life — and Himself
结尾两句表面是对路旁客人的劝告，读起来更像自言自语。崔颢年轻时出入豪贵、诗多艳体，后期诗风转向苍凉，这首的写作年份难考，但「借问」的口气带着一点旁观者的清醒。华山是道教名山，山上真有学道的人；山下的驿路上也真有赶考、赴任、经商的人。两种人生在同一条山脚下经过，诗人把选择摆出来，没有说教——「无如此处」四个字，口气是商量的。同在他笔下的黄鹤楼里，写的是日暮乡关；在这里，写的是无处安放的名利心。两首诗的结尾都落在一个悬而未决的问题上。
The closing couplet sounds like advice to the travelers by the road, but reads closer to talking to himself. The young Cui Hao moved among the wealthy and wrote ornate verses; his later manner turned austere. The date of this poem is hard to fix, yet the tone of let me ask carries an onlooker's clarity. Hua was a great Daoist mountain, with real seekers of the Way on it; the post road below really carried candidates, officials and merchants. Two kinds of life pass the same foot of the mountain, and the poet lays out the choice without preaching — nothing like it here is said in the tone of a suggestion, not a command. In his Yellow Crane Tower he wrote of dusk and home; here, of a heart with no place to put its ambitions. Both poems end on a question left open.